anxa 
88-B 
2867 


iRIGHT  ART  GALLERY 


OGUE  OF  AN  EXHIBITION 
ORKS  BY  THE  MEMBERS  OF 
"SOCIETE  DES  PEINTRES  ET 
CULPTEURS"  (FORMERLY  THE 
SOCIETE  NOUVELLE  OF  PARIS) 

AUGUSTE  RODIN,  PRESIDENT 


BUFFALO  FINE  ARTS  ACADEMY 
NOVEMBER  16— DECEMBER  26 
95  —  1911  —  15 


THE  BUFFALO 
FINE  ARTS  ACADEMY 

ALBRIGHT  ART  GALLERY 


CATALOGUE  OF  AN  EXHIBITION  OF 
WORKS  BY  THE 

MEMBERS 
OF  THE  "SOCIETE  DES  PEINTRES 
ET  SCULPTEURS" 

(FORMERLY  THE  SOCIETE  NOUVELLE 
OF  PARIS) 

AUGUSTE  RODIN,  PRESIDENT 


BUFFALO 
PRINTED  FOR  THE  ACADEMY 
NOVEMBER  16  — DECEMBER  26 

95-1911-15 


ALBRIGHT  ART  GALLERY:    VIEW  ACROSS  THE  SCULPTURE  COURT 


Buffalo  Fine  Arts  Academy 


OFFICERS  FOR  1911 

President,   WILLIAM  H.  GRATWICK 

Vice-President,   WALTER  P.  COOKE 

Secretary,   RALPH  PLUMB 

Treasurer,   GEORGE  E.  LAVERACK 


DIRECTORS 

(To  serve  until  January,  1912) 

WILLIS  O.  CHAPIN  MATTHEW  D.  MANN 

EDMUND  HAYES  ROBERT  K.  ROOT 

DUDLEY  M.  IRWIN  CARLETON  SPRAGUE 

HUGH  KENNEDY  GEORGE  URBAN,  Jr. 
WILLIAM  S.  WICKS 


(To  serve  until  January,  1913> 
CHARLES  GARY  ROBERT  R.  HEFFORD 

S.  M.  CLEMENT  SEYMOUR  H.  KNOX 

WALTER  P.  COOKE  JOHN  D.  LARKIN 

WILLIAM  A.  DOUGLAS  RALPH  PLUMB 

HENRY  WARE  SPRAGUE 


(To  serve  until  January,  1914) 
R.  K.  ALBRIGHT  FRANK  S.  McGRAW 

JAMES  CAREY  EVANS  JOHN  W.  ROBINSON 

WILLIAM  H.  GRATWICK  WILLIAM  A.  ROGERS 

GEORGE  E.  LAVERACK  GEORGE  P.  SAWYER 


Ex-Officio 

The  Honorable  LOUIS  P.  FUHRMANN,  as  Mayor 
WILLIAM  G.  JUSTICE,  as  Comptroller 


ART  DIRECTOR 
CORNELIA  B.  SAGE 

[5  ] 


Buffalo  Fine  Arts  Academy 


STANDING  COMMITTEES  FOR  1911 


FINANCE 

S.  M.  CLEMENT,  Chairman 
DUDLEY  M.  IRWIN  WILLIAM  A.  ROGERS 

The  President  and  Treasurer,  ex-officio 


ART 

CARLETON  SPRAGUE,  Chairman 
EDMUND  HAYES  WILLIAM  A.  DOUGLAS 

WILLIS  O.  CHAPIN 
The  President,  ex-officio 


HOUSE  AND  GROUNDS 

JAMES  CAREY  EVANS,  Chairman 
GEORGE  P.  SAWYER  ROBERT  K.  ROOT 

HUGH  KENNEDY 
The  President  and  Secretary,  ex-officio 


MEMBERSHIP 

F.  S.  McGRAW,  Chairman 
SEYMOUR  H.  KNOX  GEORGE  URBAN,  JR. 

HENRY  WARE  SPRAGUE 
The  President,  ex-officio 


[6] 


PREFATORY 


PROPERLY  to  judge  any  art  movement,  it  is  most  essential 
to  study  the  conditions  that  existed  at  the  time  when  such 
a  movement  started  and  to  analyze  the  natures  that  called  it 
into  existence.  France  has  been  the  scene  of  the  art  struggle  for 
a  century.  Absolutely  robbed  of  all  feeling  by  the  classical 
Academic  School,  for  a  time  art  seemed  doomed,  but  in  addition 
to  the  brilliant  work  done  by  the  French  Impressionists,  who 
form  a  school  unto  themselves,  a  new  element  has  come  forward, 
essentially  sincere  and  immensely  interesting,  and  strong  in  its 
appeal,  especially  to  Americans.  In  this  school,  efforts  to  evade 
the  usual  and  commonplace  are  plainly  evident,  and  its  aim  is  to 
give  to  the  world  feeling,  forcefulness,  and  color,  with  a  handling 
that  is  interesting,  yet  not  too  minute  nor,  on  the  other  hand,  too 
careless. 

This  important  group  of  men,  which  is  known  as  the  Societe 
Nouvelle,  includes  both  painters  and  sculptors,  and  has  the 
distinction  of  claiming  Rodin  as  its  president.  It  is  to-day 
emphatically  the  strongest  and  most  homogeneous  of  the  num- 
erous societies  whose  various  exhibitions  follow  one  after  the 
other  in  the  Paris  galleries.  This  group  achieves  the  difficult 
feat  of  uniting  no  less  than  thirty  artists  who  are  all  men  of  great 
talent;  nearly  all  the  members  are  French,  but  America  has 
the  honor  of  contributing  three  celebrated  painters,  John  Alex- 
ander, Walter  Gay,  and  John  Sargent;  Canada  gives  it  J.  W. 
Morrice ;  Russia,  Prince  Paul  Troubetzkoy ;  and  Belgium  two  or 
three  of  her  most  able  men. 

It  was  by  reason  of  its  greatness  and  because  the  work  of  the 
men  in  the  Societe  Nouvelle  is  always  worthy  of  sincere  study, 
and  produces  great  enthusiasm  on  the  part  of  artists  and  art 
students,  that  the  Director  of  the  Albright  Art  Gallery  singled  it 
out  and  went  to  Paris  to  bring  over  work  by  each  member  of  the 
Societe  for  exhibition  at  the  Albright  Art  Gallery,  the  Chicago 
Art  Institute,  and  the  City  Art  Museum  of  Saint  Louis.  In  order 
to  accomplish  the  task,  it  was  necessary  to  meet  and  win  the  con- 
fidence of  all  the  artists  and  collectors,  the  directors  of  the  Louvre 
and  Luxembourg,  and  the  directors  of  the  Georges  Petit  galleries, 
where  this  great  group  holds  its  annual  exhibition  in  Paris  every 
March.  The  importance  and  magnitude  of  an  exhibition  by 
these  painters  to  America  can  scarcely  be  conceived.  It  was 
known  that  the  Societe  Nouvelle  had  never  been  willing  to  leave 
Paris,  even  to  exhibit  in  its  neighboring  European  countries  — 
yet  the  Director  of  the  Albright  Art  Gallery  felt  it  worthy  of  a 
trial  for  the  chance  of  its  accomplishment.    All  the  studios  were 

[  7  ] 


visited,  not  only  in  Paris,  but  in  Meudon,  where  Rodin  creates; 
in  Saint-Cloud,  where  La  Touche  paints  —  inspired  by  the  linger- 
ing influence  of  Marie  Antoinette  for  sylvan  scenes  and  fetes  — 
and  in  various  out-of-town  studios,  where  the  members  of  the 
Societe  Nouvelle  have  their  summer  residences.  The  artists 
were  one  and  all  courteous  and  charming,  but  two  difficulties 
eclipsed  all  the  others ;  first,  no  one  was  anxious  to  have  his 
works  go  so  far;  secondly,  these  men  have  such  an  international 
reputation  that  the  majority  of  their  paintings  have  been  pur- 
chased in  Paris  and  carried  to  distant  countries  for  important 
private  collections  and  museums.  Rodin  is  personally  sending 
three  bronzes  from  his  studio.  Through  the  intercession  of  Mon- 
sieur Charles  Cottet,  a  group  of  ten  works  by  the  late  Eugene 
Carriere  is  included  —  Madame  Carriere  herself  contributing 
family  portraits;  and  a  special  privilege  was  accorded  by  the 
Luxembourg  authorities,  who  through  their  Director,  Monsieur 
Leonce  Benedite,  have  lent  important  works  by  Aman-Jean, 
Walter  Gay,  Lucien  Simon,  and  Lepere.  Such  a  favor  has  never 
been  granted  before.  At  first  the  Paris  world  of  art  was  evasive, 
but  finally  became  enthusiastic  and  joined  feelingly  and  helpfully 
with  the  Director  of  the  Albright  Art  Gallery  in  all  of  her 
strenuous  efforts  for  this  exhibition.  The  thanks  of  the  Buffalo 
Fine  Arts  Academy,  Albright  Art  Gallery,  and  its  Director  are 
tendered  to  the  artists  represented,  the  collectors  and  dealers, 
who  have  so  generously  lent  pictures,  the  Directors  of  the  Louvre 
and  Luxembourg,  the  French  Government  Officials,  the  Georges 
Petit  Galleries,  and  to  those  persons  in  France  and  elsewhere 
who  have  given  sympathetic  cooperation  in  the  work  of  organ- 
izing the  first  Exhibition  of  the  Societe  Nouvelle  in  America. 

CORNELIA  BENTLEY  SAGE. 


[  8  ] 


THE  ALBRIGHT  ART  GALLERY  IS 
OPEN  EVERY  DAY  FROM  TEN  O'CLOCK 
A.  M.  TO  FIVE  O'CLOCK  P.  M,  EXCEPT- 
ING ON  SUNDAYS  AND  MONDAYS, 
WHEN  IT  IS  OPEN  FROM  ONE  TO  FIVE 
O'CLOCK  P.  M. 

FREE  DAYS:  TUESDAYS,  THURS- 
DAYS, SATURDAYS,  AND  SUNDAYS; 
OTHER  DAYS,  ADMISSION  IS  TWENTY- 
FIVE  CENTS. 


THIS  COLLECTION  WILL  REMAIN 
ON  EXHIBITION  AT  THE  ALBRIGHT 
ART  GALLERY  UNTIL  DECEMBER  26, 
1911. 


[9] 


CATALOGUE 

OF  AN    EXHIBITION   OF   WORKS    BY   THE  MEMBERS 
OF  THE  "SOCIETE  DES  PEINTRES  ET  SCULPTEURS" 
(FORMERLY  THE  SOCIETE  NOUVELLE  OF  PARIS) 
AUGUSTE  RODIN,  PRESIDENT 


IN  GALLERIES  XII,  XIII,  XIV,  XVI,  XVII,  AND  XVIII,  NORTH  OF  THE 
SCULPTURE  COURT 


ALEXANDER,  JOHN  W. 

John  W.  Alexander,  one  of  the  American  members  of  the 
Societe  Nouvelle,  of  France,  was  born  in  Pittsburgh  in  1856,  and 
studied  first  at  the  Munich  Royal  Academy,  later  under  Frank 
Duveneck.  He  is  an  associate  member  of  Societe  Nationale  des 
Beaux-Arts  and  of  the  Royal  Belgian  Society  of  the  Fine  Arts; 
an  honorary  member  of  the  Vienna  and  Munich  Secession  Socie- 
ties; president  of  the  National  Academy  of  Design,  New  York; 
Chevalier  of  the  Legion  of  Honor;  honorary  M.  A.  and  Litt.  D. 
from  Princeton;  and  has  won  Temple  Gold  Medal,  Philadelphia, 
1897;  Lippincott  Prize,  Pennsylvania  Academy  of  the  Fine 
Arts,  Philadelphia,  1899;  gold  medal,  Paris  Universal  Exposi- 
tion, 1900;  Carnegie  Prize,  Society  of  American  Artists,  New 
York,  1901 ;  gold  medal,  Pan-American  Exposition,  Buffalo, 
190 1 ;  gold  medal  of  honor,  Pennsylvania  Academy  of  the  Fine 
Arts,  Philadelphia,  1903;  Corcoran  Prize,  Washington,  D.  C, 
1Q03  >  gold  medal.  Universal  Exposition,  St.  Louis,  1904;  and 
has  won  so  many  other  honors,  and  is  a  member  and  President 
of  so  many  Societies,  that  space  prevents  their  mention.  He  is 
represented  in  practically  every  important  American  museum,  as 
well  as  in  the  Luxembourg,  Paris,  Museums  of  St.  Petersburg, 
Vienna,  and  Odessa.  Numerous  private  collections  also  contain 
his  portraits  and  other  paintings.  He  is  one  of  the  original  mem- 
bers of  the  Societe  Nouvelle  and  has  always  been  deeply  in 
sympathy  with  their  aims  and  ambitions. 

About  two  years  ago  Mr.  Alexander  showed  in  Buffalo  a  col- 
lection of  forty-two  of  his  best  works,  brought  together  especially 
for  the  Albright  Art  Gallery.  His  subjects  vary  widely  and 
demonstrate  the  artist's  great  versatility.  They  are  portraits, 
genre,  flowers,  marines,  with  smaller  landscapes  of  great  charm; 
and  no  one  of  us  can  study  these  remarkable  paintings  without 
feeling  that  here  is  talent  of  the  highest  order.  It  is  noticeable 
that  Mr.  Alexander,  whose  art  many  consider  characteristically 
French,  never  studied  in  Paris,  though  he  lived  there  a  number  of 
years  as  a  practising  artist;  he  is  essentially  American,  and  we 
take  pride  in  that  relationship, 
la.  At  the  Window. 

[  II  ] 


1^ 


JOHN  W.  ALEXANDER 


[   12  ] 


AMAN-JEAN,  EDMOND 

Edmond  Aman-Jean  was  born  at  Chevry-Cossigny,  Seine-et- 
Marne,  in  i860.  He  belongs  to  the  modern  school  of  French 
artists  of  the  period  1885  to  1895  who  joined  the  secessionists, 
led  by  Meissonier  and  Puvis  de  Chavannes.  His  work  is  intro- 
spective, psychological,  temperamental  in  character  and  very 
decorative.  He  is  the  chief  of  a  very  considerable  school,  which 
believes  that  poetry  in  modern  life  still  exists. 

It  is  the  temperament  of  Aman-Jean  which  has  led  him  to  con- 
ceive and  paint  works  which,  in  almost  every  respect,  are  in  strong 
contrast  of  line  and  precise  features.  Aman-Jean  expresses 
primarily  color,  harmony  of  tone,  values  in  their  relation  to  each 
other.  In  his  pictures  the  light  of  the  atmosphere  is  filled  with  a 
thousand  influences.  Others  excel  in  their  ability  to  seize  con- 
tours alone;  Aman-Jean  suggests  in  his  forms  the  ability  to 
receive  and  radiate  light.  Around  his  objects  and  figures  there 
is,  as  it  were,  a  halo,  invisible  though  felt.  This  is  what  painters 
call  the  **  envelope."  Whether  out  of  doors  or  in  a  room  with 
open  windows,  air  and  light  tremble  around  each  figure  and 
object,  encircle,  contain,  and  bathe  them  all  in  diffused  rays.  In 
the  elaboration  of  his  pictures  the  effect  made  upon  the  eye  plays 
the  first  part,  but  hardly  less  felt  is  a  sentimental  intuition  and 
a  tenderness  which  is  almost  melancholy.  His  favorite  subjects 
are  women.    His  methods  are  suggestive  of  the  Japanese. 

Aman-Jean  is  represented  by  mural  decorations  in  many  of  the 
important  public  buildings  in  France,  including  Les  Arts  Deco- 
ratifs.  His  works  are  in  the  Luxembourg,  and  important 
museums  like  those  at  Lyons  and  Dijon  have  given  his  pictures 
especial  prominence.  America  is  proud  to  acknowledge  that  one 
of  the  most  important  works  by  Aman-Jean  is  owned  by  the 
Carnegie  Institute  of  Pittsburgh.  He  is  also  represented  in  the 
private  collection  of  Albert  Herter,  Esq.,  Victor  Harris,  Esq., 
Grosvenor  Atterbury,  Esq.,  and  William  Bosworth,  Esq.,  of 
New  York. 

He  is  a  member  of  many  important  societies,  including  the 
Societe  Nationale  des  Beaux-Arts,  Paris,  and  the  Societe  Nouvelle. 

1.  The  Conversation. 

2.  The  Gold-Fish.    (Decorative  Panel.) 

3.  The  Kid.    (Decorative  Panel.) 

4.  Lemons  and  Aquarium.    (Still  Life.) 

5.  Morning. 

6.  Portrait  of  Madame  Aman-Jean. 

Lent  from  the^Luxembourg  Gallery,  Paris,  throug:h  the  courtesy  of 
Leonce  Benedite,  Director,  and  the  French  Government. 


[  13  ] 


[  14  ] 


7.  On  the  Balcony. 

Lent  by  Victor  Harris,  Esq. 

8.  Portrait  of  Mrs.  Albert  Herter. 

Lent  by  Albert  Herter,  Esq.,  New  York. 

9.  Portrait  of  Mrs.  William  Bosworth. 

Lent  by  William  Bosworth,  Esq.,  New  York. 

10.  Portrait  of  Mrs.  Grosvenor  Atterbury. 

Lent  by  Grosvenor  Atterbury,  Esq.,  New  York. 

11.  Portrait  of  Mrs.  John  W.  Beatty. 

Lent  by  John  W.  Beatty,  Esq.,  Pittsburgh. 

12.  Study-Head  of  a  Woman. 

Lent  by  W.  H.  Hinkle,  Esq.,  Paris. 

BAERTSOEN,  ALBERT 

Albert  Baertsoen  was  born  at  Ghent,  in  iS6^  He  came  from 
a  rich  industrial  family,  who  destined  him  for  the  same  career, 
and  it  was  as  an  amateur  that  he  began  to  paint. 

He  worked  with  such  assiduity,  however,  that  in  1887  he 
exhibited  at  the  Paris  Salon  "Canal,  Matinee  de  Mars";  and 
the  success  of  this  picture  so  greatly  encouraged  him  that  from 
this  time  he  gave  himself  definitely  to  art. 

He  entered  the  studio  of  Roll  and  worked  there  for  two  years. 
In  1869,  he  again  exhibited  his  subject  "  Le  Dernier  Rayon." 

Since  then  his  works  have  been  constantly  shown  at  the  suc- 
cessive Salons  of  the  Societe  Nationale. 

We  owe  to  him  "  Vieux  Canal  Flammand  "  (in  the  Luxem- 
bourg), "  Riviere  en  Decembre,"  "  Grande  rue  a  Nieuport," 
**  Vieux  quai  en  Novembre,"  and  many  others. 

The  Musee  de  Brussels  owns  "  Les  Chalands  sous  le  neige  " 
(1901),  one  of  his  most  beautiful  canvases;  and  to  the  Luxem- 
bourg belongs  "  Le  Degel,"  which  is,  perhaps,  his  chef-d'oeuvre. 

13.  Street  at  Bruges. 

Lent  by  Georges  Petit  Galleries,  Paris. 


BESNARD,  PAUL  ALBERT 

Paul  Albert  Besnard  was  born  in  Paris,  June  2,  1849.  He 
came  from  a  family  of  artists,  his  father  having  been  a  pupil  of 
Ingres  and  his  mother  a  miniaturist.  At  an  early  age  he  entered 
the  Ecole  des  Beaux-Arts,  and  while  still  a  mere  boy  made  his 
debut  at  the  Salon  of  1868.  In  1874,  he  took  the  Prix  de  Rome. 
Shortly  afterward  he  married  the  daughter  of  the  sculptor, 
Vital  Dubray,  a  sculptor  herself,  who  has  successfully  led  her 
own  career  side  by  side  of  that  of  her  husband.  For  two  years 
they  lived  in  London,  where  Besnard  came  under  the  sway  of 
impressionism  and  the  famous  open-air  school.  His  receptive 
faculties  enabled  him  to  acquire  and  assimulate  on  all  sides. 


[  15  ] 


ALBERT  BAERTSOEN 
[  i6  ] 


while  at  the  same  time  losing  nothing  of  his  strength  and  per- 
sonality. 

In  1886  appeared  his  portrait  of  Madame  Roger  Jourdain,  a 
young  woman  in  brilliant  evening  dress  advancing  upon  a  terrace ; 
the  swiftly  vanishing  light  of  day,  and  that  thrown  on  the  scene 
by  the  golden  flow  of  artificial  light,  depicts  each  warring  with  the 
other  for  supremacy.  The  same  effect  of  conflicting  lights  is 
charmingly  exemplified  in  the  "  Femme  qui  se  chauffe,"  now  at 
the  Luxembourg. 

This  kind  of  exercise  gave  Besnard  an  incomparable  supple- 
ness in  depicting  various  aspects  of  forms,  and  most  of  all  those 
in  motion.  But  the  greatest  triumph  of  all  is  in  decoration; 
this  is  the  result  not  only  of  the  taste  and  method  which,  allied 
to  his  rich,  artistic  temperament,  enables  him  to  cover  huge 
walls  as  he  does,  but  also  of  the  imagination,  which  leads  him  to 
conceive  and  execute  allegories  under  entirely  new  methods. 
All  his  decorations,  beginning  with  that  of  "  Ecole  de  Pharmacie," 
which  won  for  him  great  fame,  show  with  what  ease  the  artist 
moves  in  the  realms  of  dreams. 

Since  1903,  Paul  Albert  Besnard  has  been  Commander  of  the 
Legion  of  Honor.  He  is  represented  in  all  the  important  private 
collections  and  museums  of  Europe,  and  his  mural  decorations 
are  found  in  many  of  the  important  buildings,  especially  in  Paris. 
His  famous  portrait  of  Rejane  is  owned  by  Emile  Sauer,  the 
musician,  who  lives  in  Dresden.  The  beautiful  work  entitled 
"  Nude  Figure  "  by  Besnard  was  lent  for  a  time  to  the  Metro- 
politan Museum  of  Art,  New  York  City.  It  belongs  to  Hamilton 
Easter  Field,  Esq.,  who  has  lent  it  to  the  Albright  Art  Gallery 
for  the  present  exhibition. 

Paul  Albert  Besnard  is  a  member  of  the  Societe  Nationale  des 
Beaux-Arts  and  the  Societe  Nouvelle  of  Paris. 

14.  The  Smile. 

Lent  by  Georges  Petit  Galleries. 

15.  Flowers  and  Turtle-doves. 

Lent  by  Georges  Petit  Galleries. 

16.  Portrait  of  Ex-Senator  William  A.  Clark. 

Lent  by  William  A.  Clark,  Esq.,  New  York. 

17.  Nude  Figure. 

Lent  by  Victor  Harris,  Esq. 

18.  Nude  Figure. 

Lent  by  Hamilton  Field,  Esq.,  Brooklyn,  N.  Y. 


BLANCHE,  JACQUES-EMILE 

Jacques-Emile  Blanche  was  born  at  Paris,  January  30,  1861. 
His  first  works  are  imbued  with  the  gifts  which  indicate  high 
culture,  a  just  sentiment  of  the  conditions  of  his  art,  and  an 
innate  distinction  of  taste. 


[  17  ] 


PAUL  ALBERT  BESNARD 


[  i8  ] 


He  seemed  at  one  time  to  follow  the  impressionistic  leading  of 
Manet;  but  this  was  mitigated  by  the  influence  of  the  English 
artists,  notably  Gainsborough.  This  influence  is  shown  in  his 
"  Famille  Thaulow,"  exhibited  at  the  Salon  of  1896,  and  now  in 
the  Luxembourg. 

Since  this  his  coloring  and  manner  have  grown  warmer  and 
richer;  his  understanding  more  extended;  and  he  has  executed 
in  powerful  harmony  strong  portraits  of  inanimate  life.  There 
is  something  especially  fascinating  in  the  flexible  art  of  Jacques- 
Emile  Blanche,  and  wherever  his  beautiful  appealing  canvases 
go  they  carry  with  them  the  same  sense  of  dextrous  craftsmanship 
and  the  same  caressing  charm.  One  and  all  they  reveal  a  unity 
which  is  rare  in  the  art  of  their  day.  Every  detail  has  been 
properly  subordinated  to  the  general  effect.  The  flash  of  jewels, 
the  sheen  of  silks,  the  liquid  gleam  of  a  mirror,  or  the  mellow 
glow  of  a  bowl  of  fruit  on  the  table,  all  is  wooed  into  a  subtle 
harmony  which  seldom  fails  to  captivate  the  most  exacting 
aesthetic  taste.  The  painter's  success  in  revealing  the  earnest 
countenance  of  the  modern  intellectual,  either  French  or  English, 
is  only  comparable  to  that  delicacy  with  which  he  enshrines 
dawning  womanhood. 

The  Luxembourg  possesses  of  this  period  the  portrait  of  the 
novelist,  Paul  Adam,  executed  in  beautiful  classic  style. 

Jacques-Emile  Blanche  was  awarded  silver  medal,  Munich, 
1891 ;  gold  medal.  Exposition  Universelle,  Paris,  1900;  gold  medal, 
Munich,  1901,  Grand  Gold  Medal,  Venice;  Knight  of  the  Legion 
d'Honneur,  France,  1898.  Member  of  the  Societe  Nationale  des 
Beaux-Arts,  Paris;  the  Secession  Society,  Munich;  the  Inter- 
national Society  of  Sculptors,  Painters  and  Gravers,  London; 
and  the  Societe  Nouvelle,  Paris. 

He  is  represented  in  the  Luxembourg,  Paris,  the  Uffizi,  Florence ; 
the  museums  in  Brussels,  Frankfort,  Munich,  Venice,  Budapest, 
Dublin,  Lyons,  Rouen,  and  in  many  private  collections  both  in 
Europe  and  America,  including  that  of  Mrs.  Dodge  in  Florence. 

19.  Salome. 

20.  Sunflowers  and  Dahlias. 

21.  Blue  Hydrangeas. 

22.  Tea  Table  and  Japanese  Lilies. 

23.  Portrait  of  Henry  James,  Esq. 

24.  Portrait  of  Her  Grace,  the  Duchess  of  Rutland. 

25.  Portrait  of  the  Marquis  of  Granby. 

26.  Portrait  of  Mrs.  Edwin  Dodge. 

Lent  by  Mrs.  Edwin  Dodge. 


[  19  ] 


JACQUES-EMILE  BLANCHE 


[  20  ] 


27-  Fragment  of  a  Decorative  Panel:  Group  of  Women. 


28.  Fragment  of  a  Decorative  Panel:  Group  of  Men  (Maurice 
Barres,  Henri  de  Regnier,  and  the  Artist). 


CARRIERE,  EUGENE  (1849-1905) 

The  death  of  Eugene  Carriere,  the  painter  of  dreams,  fading 
Hghts  and  veiled  harmony,  has  made  a  profound  impression 
which  will  never  be  effaced,  not  only  upon  the  friends  of  the 
man,  but  upon  those  who  admire  and  love  his  art.  Eugene 
Carriere:  the  name  as  well  as  the  portrait  suggest  something 
indefinable,  a  signification  mysterious  and  eternal.  With  the 
departure  of  the  being  who  was  so  full  of  force  and  love,  our 
life  misses  an  element  which  seemed  to  us  to  have  been  perfectly 
indispensable.  But  this  thought  we  have,  also,  that  Carriere  is 
always  among  us.  I  speak  to  all  who  knew  him  and  understood 
him.  Eugene  Carriere  was  an  interested  member  of  the  Societe 
Nouvelle. 

Carriere  was  born  not  far  from  Paris,  in  the  department  of 
Seine-et-Marne  at  the  village  of  Gournay,  January  27,  1849. 
His  real  origin,  however,  was  not  French,  as  his  father  came  from 
French  Flanders  and  his  mother  was  Alsatian.  He  was  brought 
up  at  Strasbourg,  but  it  was  not  there  that  he  really  received  his 
first  inspirations  for  art  in  spite  of  the  cathedral,  the  churches,  and 
the  museum;  it  was  later  in  Saint-Quentin,  where  he  lived  for 
nineteen  years.  There  he  entered  the  gallery  where  hung  the 
pastels  of  La  Tour.  He  looked  at  them  with  longing  eyes  and 
the  great  drawings  of  the  human  figure  inspired  in  him  the  love 
of  construction,  which  afterwards  appeared  in  his  own  portraits. 
Carriere  immediately  began  to  draw  and  paint,  then  went  to 
Paris  to  follow  the  course  of  the  Ecole  des  Beaux-Arts.  Then 
came  the  war  and  Carriere  was  taken  as  a  captive  to  Dresden 
where  he  later  amused  himself  by  painting  his  comrades  and  in 
studying  the  works  of  Rubens.  Returning  to  Paris,  he  re-entered 
the  Ecole  des  Beaux- Arts  where  he  studied  from  1872  to  1876. 
He  then  became  competitor  for  the  Prix  de  Rome,  but  did  not  win 
it,  and  it  was  at  this  time  that  he  turned  his  attention  to  the 
prizes  of  life.  In  the  days  that  followed  he  studied  and  sym- 
pathized with  humanity  and  in  this  way  found  his  salvation. 

It  was  thus  that  he  became  a  painter  of  motherhood  and  of  child- 
hood. You  could  search  the  world  over  and  in  the  history  of  art 
you  would  never  find  the  sentiment  of  maternity  and  of  infancy 
in  Carriere's  works  expressed  as  wonderfully  and  beautifully  as 
by  him.  The  pictures  of  Mother  and  Children  of  many  other 
painters  seem  arranged,  but  with  Carriere  the  sentiment  is  new, 
and  this  has  created  a  personal  art.  The  mother  and  children 
seem  unconscious  and  the  poses  are  natural.    His  portraits  of 


[  21  ] 


EMILE  CLAUS 


[  22  ] 


children,  of  young  boys,  young  girls,  and  older  persons  are 
studies  of  the  transformation  of  beings,  and  it  is  this  spirit  of 
humanity  that  Carriere  wishes  to  write  on  the  history  of  painting. 
He  has  even  painted  the  death  of  Christ  with  a  new  note  of  pathos. 

In  the  Exposition  Universelle,  of  1889,  he  was  decorated  with 
the  Legion  d'Honneur.  In  1890,  he  was  one  of  the  first,  with 
Puvis  de  Chavannes  and  Rodin,  to  detach  himself  from  the  old 
group  of  painters,  and  together  they  founded  the  Societe  Nationale 
des  Beaux-Arts;  and  there  the  same  year  he  exhibited  a  canvas 
called  "  Le  Sommeil,"  and  the  following  year  the  three  celebrated 
portraits  of  Alphonse  Daudet,  Paul  Verlaine,  and  Gustave  Geffroy. 
In  1892,  the  "  Maternite  "  was  purchased  by  the  Luxembourg 
Gallery  in  Paris  and  is  now  one  of  its  greatest  treasures.  The 
Luxembourg  also  owns  "  La  Famille  "  and  a  wonderful  head  by 
Carriere.  In  1893,  the  portraits  of  Gabriel  Seailles,  Madame 
Menard-Dorian,  and  Charles  Morrice  were  exhibited;  in  1895,  a 
decoration  for  the  Theatre  de  Belleville;  in  1896,  the  lithograph 
portrait  of  Edmund  de  Goncourt,  and  in  1897,  *'  Christ  on  the 
Cross."  Twice  Carriere's  works  were  assembled  and  exhibited; 
the  first  time  in  1891  at  Valadon,  at  which  time  Geffroy  pre- 
sented them  to  the  public  with  a  most  appealing  preface.  The 
second  time,  in  1896,  at  the  new  Salon,  where  he  explained  his 
own  work ;  this  address  has  since  become  celebrated. 

In  December,  1904,  a  popular  banquet  was  given  to  Carriere 
in  Paris,  at  which  Rodin  presided.  There  were  six  hundred 
sculptors,  painters,  poets,  and  philosophers,  and  their  wives. 
This  was  a  fete  of  love  and  enthusiasm  from  his  confreres.  Soon 
afterward  Carriere  became  ill  and  after  sufYering  for  over  a  year, 
died  on  the  evening  of  March  26,  1905. 

Carriere's  creations  were  his  real  life ;  his  tears,  his  enchant- 
ments were  the  bread  of  his  genius.  Because  he  had  suffered 
he  pitied  men,  he  gave  them  hope  because  he  had  loved.  His 
beautiful  maternities  are  the  symbols  of  his  life.  I  see  in  him  the 
supreme  man  to  whom  the  hesitation  of  men  can  demand  the 
law  of  the  most  essential  humanity. 

29.  Portrait  of  Madame  Eugene  Carriere. 

30.  The  Kiss. 

31.  Maternal  Caress. 

32.  Self -Portrait. 

33.  Child  with  Collar. 

34.  Child  Smiling. 

35.  Head  of  a  Little  Girl. 


[  23  ] 


CHARLES  COTTET 


[  24  ] 


36.  Magny  —  Landscape. 

37.  Magny  —  Stormy  Coast. 

38.  Head  of  Madame  Carriere. 
38a.  Rennes. 

Lent  by  Mrs.  Frances  M.  Wolcott. 


CLAUS,  EMILE 

Emile  Claus  was  born  at  Vive-Saint-Eloi,  Belgium,  Septem- 
ber 27,  1849. 

He  was  the  sixteenth  child,  and  his  father,  a  modest  grocer,  was 
much  averse  to  the  idea  of  allowing  him  to  become  an  artist. 
However,  by  the  complicity  of  his  mother  and  of  Peter  Benoit, 
whom  chance  had  led  that  way,  he  was  allowed  to  enter  the 
Academie  d'Anvers.  Here  he  studied  under  Keyser.  From 
1874  to  1889  he  painted  subjects  of  episode  and  sentiment,  such 
as  "  Richesse  et  Pauvrete,"  '*  Le  Chemin  des  ecoliers,"  "  Le 
Bateau  qui  passe,"  "La  Veille  de  la  fete,"  and  particularly  a 
"  Combat  des  Coqs." 

He  was  awarded  gold  medal.  Exposition  Universelle,  Paris, 
1889;  gold  medal,  Universelle,  Paris,  1900;  Chevalier  de  la 
Legion  d'Honneur;  Officer  of  the  Order  of  St.  Michael  of  Bavaria, 
and  the  Order  of  Leopold;  Knight  of  the  Order  of  Orange- 
Nassau.  Member  of  the  Societe  Nationale  des  Beaux-Arts,  Paris ; 
the  Secession  Society,  Berlin;  and  the  Societe  Nouvelle,  Paris. 
Represented  in  the  Luxembourg,  Paris;  and  the  Museums  of 
Dresden,  Berlin,  Venice,  Brussels,  and  Antwerp. 

Of  a  profoundly  observing  and  reasoning  spirit,  he  distinguished 
more  clearly  each  day  the  evolution  going  on  about  him  and  the 
unhappy  route  into  which  his  success  itself  was  involving  him. 

He  had  the  courage  to  abandon  the  renown  which  he  had 
gained,  and  hesitated  at  no  sacrifice  in  order  the  better  to  realize 
that  which  to  him  was  truth. 

Following  impressionism,  but  with  absolute  freedom,  he  de- 
picted the  beautiful  region  of  Lys;  that  flower-covered  country 
with  its  great  trees,  painted  houses,  cows  tethered  in  groups  in  the 
meadows.  From  these  scenes  he  draws  his  subjects  for  "  Quand 
fleurissent  les  lychnis"  (1885),  "La  Crue  de  la  Lys,  Octobre  " 
(1888),  "La  Rentree  des  Vaches"  (1889),  and  many  others. 

Of  this  artist's  work  the  Luxembourg  possesses  an  exquisite 
illuminated  canvas  which  well  bears  the  name  "Rayon  de  Soleil." 

39.  The  Gray  Cow. 

COTTET,  CHARLES 

Charles  Cottet  was  born  at  Puy,  Haute-Loire,  France,  July  12, 
1863.    The  early  part  of  his  life  was  passed  at  Evian-les-Bains, 


[  25  ] 


on  the  border  of  Lake  Geneva.  When  at  the  age  of  seventeen  he 
went  to  Paris,  it  was  to  continue  the  studies  begun  in  Switzer- 
land, and  from  this  change  of  home  may  be  dated  the  beginning 
of  his  artistic  career. 

His  parents  placed  no  obstacle  in  his  path,-  and  he  entered  the 
studio  of  Maillart,  of  whom  he  became  the  most  attentive  and 
scrupulous  pupil.  He  later  left  this  studio  for  the  Academic  Julian, 
where  he  studied  under  the  direction  of  Boulanger  and  Jules 
Lefebvre,  after  which,  enthusiastic  over  the  work  of  Puvis  de 
Chavannes,  he  received  from  him  some  instruction,  and  was 
proud  to  declare  himself  his  pupil.  Cottet  has  generally  worked 
alone ;  indefatigable,  he  has  depicted  many  scenes  and  types. 

He  was  awarded  gold  medal,  Exposition  Universelle,  Paris, 
1900;  gold  medal.  International  Exposition,  Munich,  1905. 
Represented  in  the  Luxembourg,  Paris,  and  in  the  Museums  of 
Lille,  Venice,  Trieste,  Antwerp,  Karlsruhe,  Brussels,  Bordeaux, 
Helsingfors,  St.-Etienne,  Vienna,  and  Barcelona,  and  in  the 
Cincinnati  Museum  Association,  America. 

He  was  created  Chevalier  de  la  Legion  d'Honneur  in  1900, 
and  exhibited  at  all  the  great  international  expositions,  finding 
in  other  lands  the  same  success  as  in  France.  He  is  a  member 
of  the  Secessionist  Societies  of  Berlin  and  Vienna,  and  of  the 
International  Society  of  London,  of  which  Rodin  is  president. 
Also  member  of  the  Societe  des  Peintres  et  Graveurs,  the  Orien- 
talists, the  Peintres  Lithographeurs,  and  the  Societe  Nouvelle. 
Cottet  belongs  to  the  group  of  artists  and  men  of  letters  who  have 
made  art  the  law  of  their  lives. 

During  a  stay  in  Brittany,  Cottet  so  strongly  felt  the  charm  of 
that  country  that  he  determined  to  linger  there  for  some  time. 
The  violence  of  the  sea,  the  desolation  of  the  wave-washed  shore, 
the  character  of  the  inhabitants  and  their  picturesque  costumes 
as  well,  all  interested  and  attracted  him,  so  here  he  fixed  his 
abode  and  won. 

The  history  of  the  misunderstanding  which  in  1888  divided  the 
Salon  annually  held  in  the  Palais  de  I'Industrie  is  well  known; 
some  of  the  artists,  faithful  to  the  venerable  Societe  des  Artistes 
Frangais,  stayed  on  the  Champs-Elysees ;  the  others  who  grouped 
themselves  around  the  ideas  of  the  Societe  Nationale  des  Beaux-Arts 
exhibited  their  works  in  the  Champs-de-Mars.  Meissonier,  who 
was  at  the  head  of  the  malcontents,  gathered  about  him  Puvis  de 
Chavannes,  Cazin,  Besnard,  Rodin,  Roll,  and  Carriere.  Cottet,  who 
had  only  once  exhibited  at  the  Artistes  Frangais,  followed  this 
movement,  as  much  to  prove  his  sympathy  with  Puvis  de 
Chavannes  and  Roll  as  for  his  own  personal  satisfaction. 

To  the  first  exposition,  he  sent  his  earliest  study  of  Brittany, 
"  L'Anse  du  Toulinguet,"  and  at  once  an  interest  in  this  new 
comer  was  shown. 

In  1898  his  triptych  "  Le  Repas  des  Adieux  "  appeared,  and  in 
this  we  see  the  result  of  his  six  years  of  observation  spent  in 


[26] 


Brittany ;  here  are  expressed  the  whole  scale  of  sentiments  which 
animate  the  life  of  its  people.  The  picture  was  at  once  accorded 
great  admiration  and  the  reputation  of  Cottet,  clearly  established, 
grew  from  this  time. 

In  1899  appeared  *'  Le  Jour  de  la  Saint- Jean,"  "  La  Messe 
Basse  en  Bretagne,"  and  "  Les  Feux  de  la  Saint- Jean  "  followed. 

During  the  last  few  years  Spain  and  Portugal  have  called  forth 
the  talent  and  observation  of  Charles  Cottet :  Avila,  the  Cathedral 
of  Salamanca,  Burgos,  and  Toledo ;  the  Tagus,  its  colored  waves 
charged  with  red  earth  flowing  between  high  banks,  has  inspired 
several  canvases. 

The  nudes  of  Cottet  are  filled  with  realism  and  in  his  portraits 
are  found  all  the  distinguished  qualities  of  the  artist. 

In  his  studio  in  the  Rue  Cassini,  he  works  constantly ;  the  days 
of  conflict  are  past ;  the  hours  of  work  now  sound,  and  with  them 
ever  more  and  more  success  and  glory. 

40.  Lamentation  of  the  Women  of  Camaret  on  the  burning  of 

their  church. 

41.  Evening  Service,  Brittany. 

42.  Pardon  of  St.  Ann  la  Palud,  Brittany. 

43.  Portrait  of  the  Painter,  Lucien  Simon. 

44.  Young  Girl  with  Amber  Necklace. 

45.  Grief. 

46.  Procession  in  Plougastel  Daoulac. 

47.  Old  Man  and  Old  Woman  from  I'lle  de  Sein. 

48.  Young  Girl  with  Muff. 

49.  Young  Girl  with  Red  Mantle. 

50.  Young  Girl  at  her  Toilet. 

51.  Apples  and  Book.    (Still  Life.) 

52.  Woman  at  her  Toilet. 

53.  Apples  and  Sealing  Wax.   (Still  Life.) 

54.  Stormy  Sea. 

55.  Venice  —  Setting  Sun. 


[  27  ] 


ANDRE  DAUCHEZ 


[  28  ] 


56.  Original  Study  for  the  Painting  owned  by  the  Luxembourg 

Triptych  —  The  Land  of  the  Sea. 

Center  Panel:  Repast  of  Leave  Taking. 
Left  Panel:  Those  who  Remain. 
Right  Panel:  Those  who  Go. 

57.  Evening  in  Harbor. 

58.  Mourning,  Brittany. 

Lent  by  Cincinnati  Museum  Association. 


DAUCHEZ,  ANDRE 

Andre  Dauchez  was  born  in  Paris.  He  has  made  giant  strides 
in  the  last  few  years.  His  draftsmanship  has  taken  on  a  firmness 
and  decisiveness  quite  remarkable,  and  no  one  is  better  qualified 
than  he  to  penetrate  into  the  recesses  of  the  melancholy  soul  of 
the  landscape  of  "La  basse  Bretagne."  His  decorative  panel 
"  Prairies  Bordees  d'Arbres  '*  was  one  of  the  most  imposing 
works  in  this  year's  Salon;  and  his  painting  of  a  cloudy  sky, 
and  meadows  by  the  banks  of  a  river  were  also  considered 
masterpieces. 

Member  of  the  Societe  Nationale  des  Beaux-Arts,  Societe 
Nouvelle  de  Peintres  et  Sculptuers;  Societe  des  Pastellistes 
Frangais,  Societe  des  Peintres-Graveurs,  Paris.  Awarded  bronze 
medal,  Carnegie  Institute,  1899;  gold  medal,  Carnegie  Institute, 
1900;  silver  medal.  Exposition  Universelle,  Paris,  1900;  second 
gold  medal.  International  Exposition,  Munich,  1901.  Repre- 
sented in  the  Luxembourg,  Paris,  and  the  Carnegie  Institute, 
Pittsburgh. 

59.  The  Sea  at  Lesconil. 

Lent  by  Georges  Petit  Galleries. 

60.  Gray  Dune. 

Lent  by  Georges  Petit  Galleries. 

61.  The  Point  of  Lahuron. 

Lent  by  Georges  Petit  Galleries. 

62.  The  Bay  of  Combrit. 


DEJEAN,  LOUIS  (Sculptor) 

Louis  Dejean  was  born  in  Paris,  in  1872.  After  having 
studied  for  a  short  time  under  Charles  Gautier  and  later  at  the 
Ecole  des  Arts-Decoratifs,  he  branched  out  for  himself  and  has 
confined  himself  almost  entirely  to  the  genre  of  the  small,  deli- 
cately-traced figure.  He  has  been  a  medallist  since  his  second 
exhibition,  in  1900.     Almost  entirely,  his  models  have  been 


[  29  ] 


HENRI  DUHEM 


[  30  ] 


Parisian  types  —  the  boulevardier,  the  street  gamin,  the  profes- 
sional model,  the  actress  of  the  caf e-chantant ;  and  the  key- 
note of  Dejean's  art  is  its  subtle  tracery  which  endows  with 
flesh  and  blood  the  coquetry,  the  languor,  the  lurking  charm  of  the 
twentieth-century  woman.  Typical  figures  in  the  Dejean  exhi- 
bitions have  been  his  woman's  torso  of  an  outline  delicate  and 
robust  at  once,  a  statuette  of  a  nude  young  boy  on  which  the 
light  plays  caressingly,  and  many  other  of  the  exquisite  little 
figures  which  have  begun  to  build  up  the  reputation  of  this  remark- 
able artist  ceaselessly  preoccupied  with  enlarging  his  scope  and 
attaining  his  style  without  sacrificing  his  quickness  of  impression. 

63.  April.  (Bronze.) 

64.  The  Woman  and  the  Source.  (Wax.) 


DE  LA  GANDARA,  ANTONIO 

Antonio  de  La  Gandara  is  a  portrait  painter  who  has  achieved 
great  popularity,  and  who  is  one  of  the  most  sought  after  and  the 
most  remarkable  among  painters  of  contemporary  womanhood. 
He  executes  a  portrait  with  the  subtleness  and  penetration  which 
is  characteristic  of  his  work.  Besides  portraits,  the  artist  pro- 
duces some  charming  drawings.  Previously  he  has  done  some 
little  pictures  of  the  Luxembourg  gardens  and  the  Pare  de  Saint- 
Cloud. 

Antonio  de  La  Gandara  exhibits  a  characteristic  portrait  of  a 
woman  of  highly-strung  and  nervous  elements,  and  two  of  his 
best  productions  in  the  art  of  landscape  painting. 

To  his  Spanish  heredity  La  Gandara  owes  his  skill  in  executing 
the  luxurious  yet  sombre  effect  of  cloths  and  drapery  —  that 
mastery  most  strongly  exemplified  by  Valasquez. 

65.  Portrait  of  Miss  D. 

66.  The  Palace  of  Justice. 

67.  View  from  the  Luxembourg. 


DESPIAU,  CHARLES  ALBERT  (Sculptor) 

Charles  Albert  Despiau  is  a  sculptor  who  has  exhibited  at  the 
Salons  of  1904  and  1906,  and  is  a  man  of  great  ability;  his  works 
are  fast  becoming  known  all  over  the  world. 

68.  Torso  of  a  Bacchante.  (Bronze.) 


[  31  ] 


WALTER  GAY 


[32] 


DUHEM,  HENRI 

Henri  Duhem  was  a  noted  lawyer  in  the  south  of  France,  and 
wrote  a  comprehensive  book  on  French  art.  He  was  born  at 
Douai,  in  i860,  and  lived  there  for  many  years.  Duhem  is  a 
painter  of  marvelous  landscape  effects  with  dim  skies  and  pale 
chalky  shores,  large  moonlight  scenes  and  an  original  and 
intense  series  of  provincial  towns,  market  places,  and  scenes. 
He  renders  the  dream  of  peacefulness,  the  restfulness  of  grey 
skies. 

Henri  Duhem  has  figured  in  all  the  great  national  exhibitions, 
both  French  and  foreign,  for  twenty-seven  years. 

He  was  awarded  a  medal,  Exposition  Universelle,  Paris,  1900. 
Membre-Societaire  de  la  Societe  Nationale  des  Beaux-Arts,  Paris; 
the  Societe  Nouvelle,  Paris;  Chevalier  de  la  Legion  d'Honneur, 
Paris.  Represented  in  the  Luxembourg,  Paris,  and  the  Petit 
Palais,  Paris,  and  in  the  Museums  of  Buenos  Ayres,  Argentina; 
Arras,  Lille,  Lyons,  Douai,  etc. 

69.  The  Flock  passing  the  Road,  at  the  rise  of  the  Red  Moon. 

70.  The  Locks  in  Sunset. 


GAY,  WALTER 

Walter  Gay,  one  of  the  American  members  of  the  Societe 
Nouvelle,  was  born  in  Hingham,  Mass.,  in  1856.  He  studied 
in  Paris  under  Bonnat.  Awarded  gold  medals:  Paris,  1888; 
Vienna,  1893;  Antwerp,  1894;  Munich,  1894;  Berlin,  1895; 
Budapest,  1895.  Officer  of  the  Legion  d'Honneur.  Represented 
in  the  Pinacethek,  Munich ;  Luxembourg,  Paris ;  Museum  of 
Fine  Arts,  Brussels ;  Museum  at  Amiens ;  Metropolitan  Museum 
of  Art,  New  York ;  Museum  of  Fine  Arts,  Boston ;  Pennsylvania 
Academy  of  the  Fine  Arts,  Philadelphia;  and  Carnegie  Institute, 
Pittsburgh.  He  is  a  member  of  the  Societe  Nationale  des  Beaux- 
Arts;  Royal  Society  of  Water  Colors,  Brussels;  Societe  Nouvelle, 
Paris;  American  Institute  of  Arts  and  Letters;  Member  of  Com- 
mittee of  Purchases;  Administration  Society  des  Amis  du  Louvre, 
Paris. 

With  the  charm  of  mastership  and  a  lucidity  which  all  admire, 
Walter  Gay  paints  his  interiors;  these  are  almost  always  of  the 
eighteenth  century:  sumptuous  salons  and  agreeable  apartments. 

He  makes  "  portraits  of  rooms" ;  studies  the  physiognomy 
of  the  marble-paved  vestibule,  representing  in  detail  as  well  as 
taken  as  a  whole  the  character  of  a  boudoir;  wresting  from  the 
faded  silk  of  a  sofa  gallant  avowals,  and  from  the  "  tabouret  " 
its  confidence.  For  grasping  the  expression  of  a  screen  he  has 
no  equal,  and  even  from  a  cracked  flagstone  pavement  he  draws 
what  is  almost  a  thought. 


[  33  ] 


He  has  understood  that  inanimate  objects,  and  above  all  those 
which  having  lived  much  have  retained  that  life,  are  endowed  with 
a  little  individual  soul  of  which  he  tries  to  show  the  hidden  power. 
He  has  felt  that  a  cracked  wall  of  the  past,  a  table  of  a  certain 
epoch,  a  footstool  wearied  by  the  fatigue  of  those  long  since  gone, 
those  who  complained  of  not  having  reposed  enough,  had  features 
like  those  of  a  face;  an  expression  which  changed  according  to 
the  hour  and  the  time,  and  alas,  without  reason,  for  nothing. 
And  with  a  grace,  patient  as  quick,  he  has  noted  in  them  all  the 
shades  of  solitude. 

The  interiors  of  Walter  Gay,  though  so  filled  with  the  life  of 
those  who  have  tenanted  them,  are  always  empty,  and  marvelous 
is  the  tact  by  which  are  indicated  the  class  and  description  of 
the  actors  who  lived  in  the  midst  of  the  noble  decorations  from 
which  it  is  a  pity  they  are  now  absent. 

These  deserted  rooms  do  not  give  the  least  impression  of 
abandonment;  people  are  near,  they  come  and  go.  The  dying 
cinders  on  the  hearth  illumine  the  royal  fleur-de-lis  painted  on 
the  ceiling;  a  window  is  open,  a  curtain  sways  in  the  breeze;  a 
shutter  bars  out  the  warmth  of  sunshine.  Here  is  a  breakfast 
table  on  which  the  cloth  still  rests,  and  the  creased  napkins 
bear  marks  of  the  fingers  that  have  recently  crumpled  them. 

In  treating  these  details,  the  artist  depicts  nothing  sad  or 
morose;  he  stops  on  the  threshold  of  melancholy — dreamer  that 
he  is — attentive  and  tender.  By  the  strength  of  his  desire  and 
power  of  expression  he  tries  to  make  us  feel  the  light  in  these 
beautiful  dwellings.  The  light  is  in  love  with  ancient  things  and 
while  giving  to  them  they  repay  the  gift  a  thousand  fold.  It  knows 
that  these  venerable  objects,  filled  as  they  are  with  a  life  that  has 
fled,  are  of  greatest  value  while  they  now  claim  only  a  passing 
gayety. 

Through  the  deep  windows  of  an  old  chateau  of  France  pours 
the  light,  curious,  touching  everything.  It  glances  at  the  cande- 
labra, greets  with  a  kiss  the  clock,  aims  a  sword  thrust  at  the 
glass  of  water,  leaps  to  the  floor,  climbs  the  picture-covered  wall, 
but  never  does  it  overstep  its  bounds,  for  Walter  Gay  keeps 
careful  guard.  You  leave  the  canvases  of  this  sympathetic 
master  with  regret,  feeling  the  charm  which  he  brings  out  in 
everything  he  touches.  Mr.  Gay  is  represented  in  many  museums 
and  notable  collections.  The  Luxembourg  is  fortunate  enough 
to  have  won  one  of  his  best  works  and  the  Boston  Museum  has 
just  acquired  an  important  example.  Both  are  included  in  the 
present  exhibition. 

71.  Large  Interior. 

72.  Venetian  Interior. 

73.  Interior  of  Chateau  of  Petit  Trianon,  Versailles. 


[  34  ] 


74'  Chateau  de  Breau. 

75.  Small  Interior:  The  Green  Bed. 

76.  Interior. 

Lent  from  the  Luxembourg  Gallery,  Paris,  through  the  courtesy 
of  Leonce  Benedite,  Director,  and  the  French  Government. 

77.  Palazzo  Barbaro,  Venice. 

Lent  by  the  Museum  of  Fine  Arts,  Boston. 

LAGARE,  EUGENE  (Sculptor) 

Eugene  Lagare,  born  in  1870,  is  a  sculptor  who  has  exhibited 
some  notable  works  in  bronze  and  plaster,  especially  at  the  Salon 
of  1906.  He  is  to-day  considered  by  Rodin  one  of  his  most 
promising  pupils. 

78.  Sphinx  giving  way  to  the  Genius  of  Man. 

79.  Head  of  a  Young  Girl. 


LA  TOUCHE,  GASTON 

Gaston  La  Touche  was  born  at  Saint-Cloud  in  1854.  He  is 
self-taught.  Awarded  medals:  Salon  Hors  Concours;  Expo- 
sition Universelle,  1900;  Grand-Prix,  Venice;  Barcelona; 
Munich;  and  the  Carnegie  Institute,  Pittsburgh.  Officer  of  the 
Legion  d'Honneur.  Represented  in  the  collections  of  the  Luxem- 
bourg, Brighton,  Venice,  Rouen,  Brussels,  Vienna,  and  his  works 
are  owned  in  numerous  private  collections  abroad  and  some  in 
America.  Hugo  Reisinger,  Esq.,  owns  some  of  the  best  examples 
of  La  Touche's  work,  also  Victor  Harris,  Esq.,  both  of  New  York. 

Two  important  examples  are  owned  in  Buffalo;  one  by  Mrs. 
Porter  Norton  and  the  other  by  Mrs.  Spencer  Kellogg.  Both 
are  here  exhibited.  La  Touche  is  President  of  the  Societe  Inter- 
nationale des  Peintres  a  I'eau;  member  of  the  Franco-American 
Institute;  member  of  the  Delegation  of  the  Societe  Nationale 
des  Beaux-Arts;  and  a  member  of  the  Imperial  Consul  des 
Beaux-Arts;  Societe  des  Aquarellistes  Hollandais;  Societe  Royale 
des  Artistes  Beiges,  and  the  Societe  Nouvelle  of  Paris. 

Gaston  La  Touche's  ancestors  came  from  Normandy.  Here 
above  all  other  places  still  lingers  the  influence  which  Marie 
Antoinette  had  exerted  during  her  lifetime  —  the  love  of  sylvan 
scenes,  fetes  on  velvety  lawns  shaded  by  graceful  trees,  dances 
in  the  open  air,  suppers,  fountains,  tiny  lakes  and  streams  in 
which  are  mirrored  swans  or  on  which  floats  a  lazy  boat. 

Thus  the  boy  grew  up  surrounded  by  a  mental  as  well  as  a 
visual  eighteenth  century  atmosphere.  The  books  in  which  he 
delighted  were  those  of  that  period,  and  when  at  the  early  age  of 


[  35  ] 


GASTON  LA  TOUCHE 


[  36  ] 


ten  he  began  to  paint,  his  pictures  naturally  embodied  the  spirit 
of  his  musing.  This  influence,  so  early  felt,  has  colored  aU  of 
his  later  works,  the  grace,  elegance,  and  daintiness  of  the  court 
of  Louis  XVI  constantly  speaking  to  us  from  his  canvases. 

In  spite  of  La  Touche's  talent  and  love  for  painting  his  parents 
were  opposed  to  his  becoming  an  artist  and  endeavored  first  to 
make  a  student  of  him,  failing  in  which  they  plunged  him  into  a 
life  of  commerce;  then  the  lad  rebelled  and  insisted  upon  fol- 
lowing his  chosen  profession.  Self-taught  at  first,  he  worked 
frantically  and  in  1875  made  his  debut  at  the  Salon  as  a  sculptor, 
exhibiting  a  medallion. 

Then,  through  his  friendship  with  Nanot,  Degas,  and  Zola,  he 
became  a  member  of  the  naturalist  school  and  later  an  idealist. 
To-day  he  is  considered  one  of  the  finest  of  the  true  colorists. 
In  the  year  1890  he  joined  the  Secessionists,  led  by  Meissonier 
and  Puvis  de  Chavannes,  and  exhibited  at  the  new  Salon  of  the 
Societe  Nationale  des  Beaux-Arts. 

In  our  admiration  of  his  work  we  do  not  separate  his  decora- 
tive panels  from  his  paintings,  of  which  a  list  would  be  too  long 
for  this  sketch.  In  his  studio  at  Saint-Cloud,  the  artist  labors 
incessantly,  even  during  his  walks,  and  while  traveling  he  makes 
little  sketches  which  furnish  him  valuable  material;  in  these  he 
is  as  much  poet  as  painter. 

80.  Landscape  —  River  Bank. 

81.  Vision  Antique.     (Exhibited  in  Salon,  1911,  under  title  of 

"  Innocence.") 

82.  The  Betrothed. 

83.  The  Visit  of  the  Princess  Royale. 

84.  Landscape. 

Lent  by  Victor  Harris,  Esq. 

85.  A  Pardon  in  Brittany. 

Lent  by  Victor  Harris,  Esq. 

86.  Mischief. 

Lent  by  Mrs.  Spencer  Kellogg,  Buffalo. 

87.  Saint  Marks,  Venice. 

Lent  by  Mrs.  Porter  Norton,  Buffalo. 

88.  Summer  Day. 

Lent  by  Messrs.  Knoedler  &  Co.,  New  York. 


LE  SIDANER,  HENRI  EUGENE 

Henri  Eugene  Le  Sidaner  was  born  at  Port  Louis,  Mauritius, 
in  1862.    He  comes  from  a  Breton  family. 

Member  of  the  Societe  Nationale  des  Beaux-Arts,  Paris;  the 


[37  ] 


HENRI  EUGENE  LE  SIDANER 


[  38  ] 


International  Society  of  Sculptors,  Painters,  and  Gravers,  Lon- 
don; and  of  the  Societe  Nouvelle,  Paris.  Represented  in  the 
Luxembourg,  the  Petit  Palais  des  Beaux-Arts,  Paris ;  and  in  the 
private  collections  of  John  W.  Beatty,  Esq.,  Pittsburgh;  Edward 
Drummond  Libby,  Esq.,  Toledo,  and  Mrs.  W.  R.  Taylor,  Roch- 
ester, N.  Y.  Awarded  medal  of  the  third  class,  Paris,  1891; 
bronze  medal.  Exposition  Universelle,  Paris,  1900;  honorable 
mention,  Carnegie  Institute,  1901,  medal  of  the  second  class, 
Carnegie  Institute,  Pittsburgh,  1906. 

89.  Bee-hives. 

Lent  by  Georges  Petit  Galleries. 

90.  Sunlight  on  a  Red  Temple. 

Lent  by  Georges  Petit  Galleries. 

91.  The  Faubourg. 

Lent  by  Georges  Petit  Galleries. 

92.  Evening  in  the  Village. 

Lent  by  Mrs.  Spencer  Kellogg,  Buffalo. 

93.  Morning. 

Lent  by  Mrs.  E.  D.  Libbey,  Toledo. 


MARTIN,  HENRI 

At  the  opening  of  the  Salon  of  1883,  three  pictures  attracted 
much  attention,  *'  Andromaque,"  by  Georges  Rochegresse ; 
*'  Saint  Julien  I'Hospitalier,"  by  Aman-Jean ;  and  "  Francesca 
da  Rimini,"  by  Henri  Martin,  a  young  artist,  until  this  time 
practically  unknown.  He  was  born  at  Toulouse,  France,  August 
5,  i860,  and  studied  under  Jean-Paul  Laurens;  this  much  only 
was  known  of  him.  How  suddenly  he  made  the  place  for  him- 
self which  he  has  since  filled  with  such  distinction !  When  quite 
young  he  showed  rare  artistic  gifts,  but  as  his  family  desired  him 
to  become  a  merchant,  he  devoted  himself  for  six  months  to  com- 
merce. At  the  end  of  that  time,  however,  his  family,  under- 
standing that  his  vocation  was  irresistible,  decided  to  consent  to 
his  wishes.  He  then  entered  the  Ecole  des  Beaux-Arts  at  Tou- 
louse; at  the  age  of  nineteen  he  obtained  the  Grand-Prix  and 
with  the  income  which  this  brought  him,  went  to  Paris  and 
entered  the  studio  of  Jean-Paul  Laurens.  In  1880,  he  exhibited 
at  the  Salon  des  Artistes  Frangais  a  picture  called  "  Le  Deses- 
poire,"  and  in  1883  his  "  Francisca  da  Rimini  "  followed.  This 
was  received  with  acclamation  from  the  artists,  given  first  class, 
and  was  bought  by  the  state.  At  this  time,  he  had  now  shown 
the  vigorous  originality  with  which  his  later  work  made  us 
familiar.  In  1864,  however,  with  his  "  Cain,"  he  gave  voice  to 
the  spirit  of  seer  and  poet.  He  went  to  Italy,  visited  with  enthu- 
siasm her  churches  and  museums,  revelled  in  her  wealth  of 
color.  He  centered  his  admiration  on  the  works  of  Giotto. 
The  poetry  of  these  frescoes,  the  life  which  animates  them. 


[  39  ] 


HENRI  MARTIN 


[  40  ] 


troubled  profoundly  the  soul  of  the  young  painter  of  twenty-five, 
who  had  thus  new  horizons  opened  to  him.  From  this  time 
Henri  Martin  shows  in  his  works  more  of  contemplation  than 
observation  and  he  began  following  his  desire  to  interpret  the  poets. 
Dante  inspired  him  with  the  subject  "  Chant  XXXIII  de  TEnfer." 

From  this  time  he  had  but  to  follow  the  route  which  he  had 
traced  for  himself,  and  which  was  opened  before  him,  filled  with 
sunshine  and  security.  At  the  age  of  twenty-eight  he  had  won 
a  success  which  his  elders  might  well  have  envied.  In  1889  he 
exhibited  "  La  Fete  de  la  Federation,"  a  large  canvas  which 
excited  much  discussion,  upsetting,  as  it  did,  the  long-established 
rules  of  generations  of  artists.  The  same  year  he  won  the  medal 
for  his  great  picture  of  "  Paolo  et  Francesca,"  now  hung  in  the 
Musee  de  Carcassonne.  He  is  noted  for  his  '*  L'Inspiration  " 
in  the  Luxembourg.    He  is  a  symbolist. 

During  1896,  an  exhibition  of  his  works  shown  at  the  Galerie 
Mancini  won  for  him  the  esteem  of  the  public  at  large,  and  in  the 
following  year  many  other  important  works  appeared.  In  1899, 
his  "Serenite"  drew  from  Puvis  de  Chavannes  a  cry  of  delight. 
"Here  is  one,"  he  exclaimed,  "who  will  continue  my  work!" 

His  works  are  those  of  which  one  often  thinks:  harmonious 
and  luminous  landmarks  on  the  route  of  art. 

He  is  a  member  of  the  Societe  des  Artistes  Frangais;  of  the 
Societe  Nationale  des  Beaux-Arts;  and  of  the  great  Societe  Nou- 
velle,  Paris.  Represented  in  the  Luxembourg,  Paris;  Museum 
of  Painting  and  Sculpture,  Bordeaux;  Museum  of  Amiens; 
Lyons;  Museum  of  Fine  Arts,  Toulouse,  Marceilles,  Carcassonne, 
Ghent,  Nantes,  and  Buenos  Ayres,  Awarded  medal  of  the  first 
class.  Salon,  Paris,  1883;  gold  medal,  Exposition  Universelle 
Paris,  1889;  Grand  Prize,  Exposition  Universelle,  Paris,  1900; 
Officer  of  the  Legion  d'Honneur,  France,  1893;  Hors  Concours, 
Societe  des  Artistes  Frangais. 

94.  Village  in  Spring. 

95.  The  Pergola. 

96.  An  Old  House. 
96a.  Under  the  Trees. 

MENARD,  EMILE-RENE 

Emile  Rene  Menard  was  born  in  Paris  in  1862,  in  a  cultivated 
and  literary  circle.    He  is  himself  a  spirit  of  great  culture. 

Under  the  influence  of  his  father  and  his  uncle,  the  philosopher, 
Louis  Menard,  his  intelligence  could  not  fail  to  open  itself  to  all 
forms  of  beauty,  whether  of  reality  or  dream. 

He  studied  both  at  the  Ecole  des  Beaux-Arts  and  Academic 
Julian.    His  first  Salon  date  is  1883;  he  hesitated  some  time  in 


[  41  ] 


EMILE  RENE  MENARD 


[  42  ] 


his  choice  of  modern  or  antique  subjects,  visibly  influenced,  like 
all  his  comrades,  by  the  naturalistic  movement  of  the  time. 

Toward  1890,  he  found  the  path  in  which  he  now  each  day 
walks  with  more  assured  step,  that  of  portraiture  and  of  syn- 
thetic visions  of  landscape  peopled  with  epic  groups  of  beautiful 
nude  women  bathing  in  quiet  waters.  He  says,  "  It  was  in 
Barbizon  and  Normandy  that  I  began  to  paint  landscapes,  later, 
I  was  in  Brittany,  worked  in  France,  in  Corsica  and  in  Greece, 
and  I  have  also  traveled  in  Algeria  and  in  Syria." 

A  journey  in  Sicily  accentuated  his  first  connection  with 
antiquity  and  furnished  him  with  the  subjects  of  his  beautiful 
pictures,  "  Historiques  d'Agrigentz  (1890)"  and  "  Terre  Antique" 
(1901). 

Since  1900,  Rene  Menard  has  been  Chevalier  de  la  Legion 
d'Honneur,  Officer  of  the  Legion  d'Honneur,  19 10. 

He  was  awarded  medal  of  the  third  class,  Salon,  Paris,  1898; 
gold  medal.  Exposition  Universelle,  Paris,  1900.  Member  of  the 
Societe  Nationale  des  Beaux-Arts,  Paris;  the  Societe  Nouvelle, 
Paris;  and  the  Societe  des  Pastellistes  Frangais.  Represented 
in  the  Luxembourg,  and  in  the  Musee  de  la  Ville,  Paris,  Museum 
of  Fine  Arts,  Toulouse,  France ;  Museum  of  Stockholm ;  Carnegie 
Institute,  Pittsburgh,  and  in  Munich,  Brussels,  Budapest,  Venice, 
Rome,  Buenos  Ayres,  Ghent,  Algeria,  Lyons,  Nantes,  and  in 
many  private  collections  all  over  the  world. 

The  pictures  of  Emile  Rene  Menard  are  always  a  source  of 
pure  joy  for  the  spectator;  the  least  of  his  paintings  impels  our 
admiration  by  the  beauty  of  its  conception,  the  nobility  of  its 
sentiment,  and  the  great  charm  of  its  color.  His  pictures  must 
be  accounted  veritable  masterpieces. 

97.  Hylas. 

98.  Bucolique. 

99.  Sunset  on  the  Corsican  Coast. 

100.  Setting  Sun. 

Lent  by  Georges  Petit  Galleries. 

10 1.  The  Coast  of  Normandy. 

Lent  by  Georges  Petit  Galleries. 

102.  Twilight. 

Lent  by  Victor  Harris,  Esq. 

103.  The  Rainbow. 

Lent  by  Victor  Harris,  Esq. 

104.  Sea  and  Cloud. 

Lent  by  Victor  Harris,  Esq. 

105.  The  Swamp. 

Lent  by  William  H.  Sage,  Esq.,  Albany. 

106.  The  Judgment  of  Paris. 

Lent  by  Carnegie  Institute,  Pittsburgh. 


[  43  ] 


JAMES  WILSON  MORRICE 


[  44  ] 


MORRICE,  JAMES  WILSON 

James  Wilson  Morrice  was  born  at  Montreal,  Canada.  He  is 
a  Canadian  artist  who  went  not  long  ago  to  settle  in  Paris.  He 
is  not  an  original  member  of  the  Societe  Nouvelle,  but  this  new 
recruit  is  one  of  the  most  interesting  and  characteristic  painters 
of  the  group,  and  his  works  immediately  attract  attention  by 
reason  of  their  striking  coloring  and  beauty  of  technique. 

He  is  represented  in  the  Luxembourg,  Paris;  Pennsylvania 
Academy  of  the  Fine  Arts,  Philadelphia;  Palace  of  Arts,  Lyons, 
France;  and  in  the  private  collections  of  D.  R.  Wilkie,  Esq., 
Toronto,  and  many  private  collections  in  Montreal.  Member  of 
the  Societe  Nationale  des  Beaux-Arts,  and  of  Salon  d'Automne, 
Paris;  International  Society  of  Sculptors,  Painters,  and  Gravers, 
London;  and  the  Societe  Nouvelle,  Paris. 

James  Wilson  Morrice  is  unquestionably  the  Canadian  painter 
who  has  achieved  in  France  and  at  Paris  (where  he  participates 
regularly  in  all  the  important  exhibitions)  a  most  notable  and 
well-merited  place  in  the  world  of  art.  If  he  has  arrived  at  this 
high  position,  it  is  certainly  not  because  of  any  means  outside  of 
his  art  —  severe,  charming,  and  truthful.  Mr.  Morrice  has  never 
concerned  himself  with  flattering  the  tastes  of  the  public,  the 
fashion  of  the  hour,  or  bourgeois  prejudice.  From  him  we  have 
never  seen  those  sensational  effigies,  brilliant  and  hollow,  of 
which  in  Paris,  as  in  all  other  places,  ephemeral  reputations  are 
made;  nor  has  he  thrust  himself  into  view  with  immense  anec- 
dotal compositions,  before  which  assemble  the  mob,  more  sensi- 
tive to  the  pathetic  or  picturesque  subject  than  to  the  veritable 
language  of  painting  as  expressed  in  form,  color,  light,  and  value. 
What  above  all  else  characterizes  the  work  of  Mr.  Morrice  is  his 
freedom.  Like  the  true  masters,  he  began  twenty  years  ago 
with  pictures  that  were  somewhat  tight  in  manner,  rather  stiffly 
drawn,  almost  minute,  producing  the  object  copied  with  respectful 
and  timid  fidelity.  Then,  as  he  became  conscious  of  his  powers, 
he  eliminated  the  useless  to  express  only  the  essential.  The 
carefully  realistic  analysis  of  his  first  works  gave  place  to  a 
synthesis,  broad,  rhythmic,  and  always  well  considered,  which 
of  late  years  is  the  only  sense  of  beauty  which  has  guided  him. 

107.  The  Place  Chateau  Brigand. 

Lent  by  the  Mount  Royal  Club,  Montreal, 

108.  St.  Georgio,  Venice. 

Lent  by  James  Reid  Wilson,  Esq.,  Montreal. 

109.  Clarenton. 

Lent  by  Arthur  Morrice,  Esq.,  Montreal. 

no.  The  Ramparts,  St.  Malo. 

Lent  by  David  Morrice,  Esq.,  Montreal. 

111.  On  the  Grand  Canal,  Venice. 

Lent  by  Mrs.  Newton  MacTavish,  Toronto. 

112.  On  the  Beach. 

Lent  by  Daniel  R.  Wilkie,  Esq.,  Toronto. 


[  45  ] 


JEANNE  POUPELET 


[  46  ] 


113.  The  Circus. 

114.  Snow  Scene,  Canada. 

115.  Canadian  Village. 


POUPELET,  MADEMOISELLE  JEANNE  (Sculptor) 

Mademoiselle  Jeanne  Poupelet  was  born  at  Bordeaux,  France. 
She  was  awarded  bronze  medal,  Exposition  Universelle,  Paris, 
1900;  Bourse  de  Voyage  from  the  Government  in  1904;  Secre- 
tary of  the  Societe  Nationale  des  Beaux-Arts,  Secretary  of  the 
Salon  d'Automne,  and  member  of  the  Societe  Nouvelle,  Paris. 

116.  Duck. 

117.  Rabbit. 

PRINET,  RENE-XAVIER 

Rene-Xavier  Prinet  paints  with  sentiment  and  also  proves  that 
he  can  be  at  times  an  excellent  plein-air  artist.  He  is  one  of  the 
very  important  members  of  this  group. 

A  faint,  vague  perfume  of  the  past  pervades  the  work  of  this 
clever  painter  of  incident  who  infuses  into  his  realism  a  certain 
tender  grace  reminiscent  of  poetry  and  romance. 

He  was  awarded  honorable  mention,  Societe  des  Artistes 
Frangais,  1888;  gold  medal.  Exposition  Universelle,  Paris,  1900; 
Knight  of  the  Legion  d'Honneur,  France,  1900;  Associate  Mem- 
ber of  the  Societe  Nationale  des  Beaux-Arts,  and  of  the  Society  of 
Painters  and  Sculptors,  Paris.  Represented  in  the  Luxembourg, 
Paris;  Museum  of  Gothenburg;  Museum  of  Nancy;  Museum  of 
Bordeaux;  Museum  of  Helsin^ors;  Museum  of  Vesoul;  Museum 
of  Gray;  Museum  of  Brussels;  collection  of  Prince  Leopold  of 
Bavaria. 

118.  The  Amazons. 

119.  The  Ferryman. 

120.  Woman  in  Brown. 


RAFFAELLI,  JEAN-FRANCOIS 

Jean-Frangois  Raffaelli  was  born  in  Paris,  April  20,  1850. 
While  still  young  his  father  lost  his  fortune  and  the  lad  was 
obliged  to  choose  a  means  of  earning  a  livelihood  which  would 
at  the  same  time  yield  him  sufficient  leisure  in  which  to  follow 
his  chosen  career,  that  of  painting. 


[  47  ] 


TEAN-FRANCOIS  RAFFAELLI 


[  48  ] 


For  this  he  felt  that  he  had  an  irresistible  vocation. 

Beginning  at  the  age  of  fourteen  he  tried  various  occupations, 
sang  in  churches  or  at  the  theater;  gave  lessons  while  all  the 
time  gaining  for  himself  a  general  education  and  devoting  every 
spare  moment  to  painting. 

He  studied  for  a  time  in  the  atelier  of  Gerome,  but  his  natural 
independence  rebelled  at  the  restrictions  here  imp033d. 

Married  while  still  young,  he  traveled  with  his  wife  in  Italy, 
Spain,  and  Algeria.  Upon  their  return  they  settled  in  the  suburbs 
of  Paris,  and  here  his  penetrating  vision  discovered  a  world  new 
to  art. 

At  this  time  affiliated  with  the  impressionists,  he  participated  in 
some  of  their  earliest  expositions.  But  soon  he  separated  from 
them,  the  better  to  follow  out  the  path  which  he  has  since  fash- 
ioned for  himself. 

In  1884,  he  organized  an  exhibition  of  his  works;  in  the  pre- 
face of  the  catalogue  prepared  for  this  he  wrote:  "  The  art  of  the 
past  has  said  all  that  there  is  to  say  of  purely  plastic  beauty; 
the  duty  of  the  modern  painter  is  to  search  for  characteristics, 
that  is  to  say,  character." 

The  catalogue  divided  its  subjects  into  groups,  portraits  of 
various  types  of  the  lower  classes,  ragmen,  drinkers  of  absinthe, 
robbers,  etc. 

"  Les  Forgerons  Buvant,"  exhibited  at  the  Exposition  Con- 
tennal  de  I'Art  Frangais  in  1890,  is  a  picture  of  this  class. 

But  while  feeling  intensely  and  depicting  what  is  to  him  the 
poetry  of  the  humble  and  miserable,  he  has  in  so  doing  in  no  way 
lost  his  sense  of  beauty  and  of  the  most  delicate  harmonies. 

In  1900  he  was  made  Officer  de  la  Legion  d'Honneur. 

He  was  awarded  honorable  mention.  Salon,  Paris,  1885; 
gold  medal.  Exposition  Universelle,  Paris,  1889;  medal  of  the 
second  class,  Carnegie  Institute,  1896;  gold  medal,  Exposition 
Universelle,  Paris,  1900.  Member  of  the  Societe  Nationale  des 
Beaux-Arts  and  of  the  Societe  des  Artistes  Frangais,  Paris ;  Seces- 
sion Society,  Vienna;  Secession  Society,  Berlin;  and  the  Societe 
Nouvelle,  Paris.  Represented  in  the  Luxembourg,  Paris;  the 
Metropolitan  Museum  of  Art,  New  York;  the  Pennsylvania 
Academy  of  the  Fine  Arts,  Philadelphia;  Carnegie  Institute, 
Pittsburgh ;  Museum  of  Fine  Arts,  Nancy,  France ;  Museum  of 
the  Hotel  de  Ville,  Paris ;  National  Museum,  Stockholm ;  Museum 
of  Art,  Christiania;  and  in  the  private  collections  of  Roland 
Knoedler,  Esq.,  Georges  Durand-Ruel,  Esq.,  New  York,  and  Mrs. 
W.  S.  Kimball,  Rochester,  New  York. 

121.  Les  Champs  Elysees,  Paris. 

122.  Les  Champs  Elysees. 

Lent  by  Messrs.  Knoedler  &  Co.,  New  York. 

123.  Landscape. 

Lent  by  Durand-Ruel  &  Son,  New  York. 


[  49  ] 


RODIN,  AUGUSTE  (Sculptor) 
Auguste  Rodin  was  born  in  Paris,  November  14,  1840,  in  a 
family  of  the  poorer  working  classes.  ^At  the  age  of  fourteen  he 
entered  a  small  school  of  art  in  the  Ecole  de  Medicine,  and  in 
addition  drew  and  studied  in  the  Louvre,  and  at  the  Gobelin  in 
the  evening.  He  also  entered  a  class  at  Barye's  in  the  Jardin 
des  Plantes.  "  Barye,"  he  says,  "  did  not  teach  us  much, 
he  was  always  tired  and  worried  when  he  came  and  always  told 
us  something  good."  Because  it  was  necessary  to  earn  a  living, 
Rodin  worked  for  a  maker  of  ornaments  during  this  period  of 
desperate  industry.  In  1864,  he  became  a  pupil  and  assistant  of 
Carriere-Velleuse  and  remained  with  him  six  years,  during  which 
time  he  sent  the  magnificent  head  known  as  "  The  Man  with  a 
Broken  Nose  "  to  the  Salon  of  1864.  It  was  refused.  He  also 
applied  thrice  for  admission  to  the  Ecole  des  Beaux-Arts  and  was 
thrice  refused. 

In  1879,  Rodin  removed  to  Brussels,  where  he  remained  for 
seven  years,  working  under  Van  Rasbourg,  the  Belgian  sculptor. 
During  this  time  he  gained  a  thorough  knowledge  of  the  Flemish 
Primitives,  and  the  gothic  masters  which,  with  the  art  of  the 
best  Greek  Periods,  and  Michael  Angelo,  so  greatly  influenced 
his  work.  "  In  Brussels,"  he  says,  "  I  learned  how  to  wait.  It  is 
the  great  secret."  These  seven  years  formed  a  sort  of  spiritual 
retreat  which  enabled  him  to  find  himself  intellectually,  and  to 
live  quietly  and  decently  in  peaceful  surroundings.  No  work  of 
his  own  is  known  through  all  this  astonishing  apprenticeship  of 
twenty  years,  with  the  single  exception  of  "  The  Man  with  a 
Broken  Nose."  This  was  finally  accepted  by  the  Salon  of  1876. 
Rodin  then  returned  to  Paris  and  in  1877  sent  to  the  Salon  of  that 
year  the  nude  figure  of  a  young  man  entitled  "  The  Age  of 
Brass."  Itjwas  accepted,  but  the  jury,  astonished  and  perplexed 
by  the  wonderful  accuracy  of  the  modeling  in  the  work  of  an 
'*  unknown,"  accused  the  sculptor  of  having  cast  his  statue  from 
the  mold  of  a  living  figure.  Rodin  protested  indignantly,  aided 
by  three  sculptors,  Desbois,  Fagel,  and  Leferre;  critics  took  up 
the  question,  which  was  virtually  settled  by  the  purchase  of 
"The  Age  of  Bronze"  for  the  Luxembourg,  where  it  now 
stands. 

In  1880,  with  "  St.  John  the  Baptist  "  (also  in  the  Luxembourg), 
Rodin  emerged  finally  and  definitely  from  obscurity,  and  became 
the  Rodin  of  to-day,  whose  dominance  in  the  world  of  art  can 
only  be  likened  to  that  of  Michael  Angelo  some  few  centuries 
before. 

Short,  thickset,  slow,  modest,  silent,  wholly  absorbed  in  his 
art,  he  is  seldom  to  be  met,  passing  his  time  between  his  home 
at  Meudon  and  his  studio  in  the  Rue  de  I'Universite;  nor  have 
occasional  trips  to  London,  Prague,  Germany,  and  Italy,  inter- 
fered with  his  busy  seclusion,  from  out  of  which  (we  quote  a 
recent  French  article)  he  sends  exhibits  to  the  Salon,  which 


[  50  ] 


rival  the  most  beautiful  fragments  of  antiquity,  nor  of  late  years 
has  France  refused  him  her  entire  sympathy  and  support,  with 
the  disconcerting  exception  of  the  Balzac  of  1897.  In  1900,  his 
entire  works  were  collected  under  a  separate  pavilion,  at  the 
exhibition  of  the  Bond-point  de  I'Alma,  and  his  position  was  at 
once  reaffirmed  and  explained  by  this  truly  noble  and  astonishing 
exhibit.  He  is  further  a  high  dignitary  of  the  Legion  d'Honneur. 
President  des  Juges  of  the  Societe  Nationale  and  successor  to 
Whistler  as  President  of  the  International  Society  of  Artists, — 
this  last  one  of  the  highest  tributes  to  genius  it  lies  in  the  power 
of  his  brother  artists  to  bestow,  being,  as  it  is,  an  honor  arbitrary 
of  artists  alone  and  unconnected  with  any  official  or  civic  posi- 
tion. 

He  is  surrounded  by  the  warm  and  sympathetic  devotion  of 
many  of  the  younger  artists,  some  of  whom  are  his  pupils,  dis- 
tinguished artists  themselves.  Further,  no  personality  of  our 
time  has  more  occupied  the  best  literary  minds  of  the  day,  and  of 
late,  in  consequence,  no  man  has  been  more  written  about.  This 
has  sometimes  been  used  as  a  term  of  reproach,  Rodin  being 
styled  too  literary;  but  he  explains  smilingly:  "I  do  not 
admit  that  thought  should  be  excluded  from  art,  providing  it  is 
clothed  in  a  workman-like  plastique  "  (une  belle  plastique). 
**  First,  let  them  accuse  me  of  badly  modeled  arms  and  legs  and 
then  

And  it  is  this  combination  of  superb  and  touching  idealism 
(to  which  in  his  modesty  and,  perhaps,  suspicion,  he  lays  no 
claim),  and  is  his  supreme,  dominant,  unchecked,  unquestioning 
realism  (in  which  he  glories)  that  Rodin  stands  unrivaled.  "  I 
am  under  orders  to  Nature,"  he  says.  *'  Nature,  it  is  all  there. 
The  artist  has  only  to  concern  himself  with  sang." 

A  magnificent  series  of  drawings,  yearly  becoming  more 
famous,  peculiarly  reveals  us  to  Rodin,  the  thinker  and  student 
at  work  for,  one  had  almost  written  with,  himself.  They  bid 
fair  to  take  a  place  in  art  approximate  to  that  of  the  etchings  of 
Rembrandt,  as  compared  to  the  bulk  of  the  work  of  the  great 
Dutchman,  though  admittedly  more  curious,  and  more  intimate. 
They  are  above  all  concerned  with  the  movement  of  the  living 
model  in  action,  which  explains  their  over-lacking  outlines. 
Drawn  with  great  haste,  the  hand  has  often  followed  the  changing 
outline  actually  in  flight. 

124.  Danaide.  (Marble.) 

Lent  by  Cottier  &  Co.,  New  York. 

125.  The  Sphinx.  (Marble.) 

Lent  by  Mrs.  Eugene  Meyer,  New  York. 

126.  The  Kiss.  (Bronze.) 

Lent  by  Mrs.  Eugene  Meyer. 


[  51  ] 


LUCIEN  SIMON 


[52] 


127-  Bust  of  Mirabeau.  (Bronze.) 

128.  Bust  of  Dalon.  (Bronze.) 

129.  The  Hand  of  Man.  (Bronze.) 

Above  three  bronzes  personally  sent  by  Monsieur  Rodin  to  the 
present  exhibition. 

130-135.  Six  drawings  lent  by  Mrs.  Eugene  Meyer. 
136.  Colored  Drawing. 

Lent  by  Mrs.  Porter  Norton,  Buffalo. 


SIMON,  LUCIEN 

Lucien  Simon  was  born  in  Paris,  July  18,  1861.  His  family 
belonged  to  the  refined  and  well-to-do  bourgeoisie  from  which 
have  sprung  so  many  artists  and  men  of  literary  renown. 

The  house  in  the  Rue  Cassette  in  which  he  lived  was  encircled 
by  gardens;  the  only  sounds  to  be  heard  were  those  of  clocks,  to 
which  during  the  spring-time  were  joined  the  cries  of  the  swallows. 
In  this  quiet  environment  his  infancy  was  passed. 

When  he  was  old  enough  to  receive  instruction  he  went  first 
to  school  and  later  to  the  Lycee  Louis-le-Grand. 

During  his  school  career  his  tastes  led  him  quite  as  much 
toward  a  literary  as  an  artistic  life,  and  he  thought  seriously  of 
following  the  scientific  career  of  his  brother  Eugene  Simon,  who 
had  already  made  a  name  for  himself  as  a  naturalist.  However, 
he  had  at  this  time  the  misfortune  to  lose  his  father,  and  being 
allowed  by  his  mother  freedom  in  his  choice  of  a  career,  decided 
to  devote  himself  to  painting.  Already  Jules  Didier  had  given 
him  some  lessons;  and  now  he  enrolled  himself  as  a  pupil  at  the 
Academie  Julian.  Not  long,  however,  did  he  continue  there,  for, 
making  the  acquaintance  of  Rene  Menard  and  other  brother 
artists,  he  invited  them  to  meet  weekly  at  his  house,  and  not  they 
only  but  poets,  musicians,  and  dramatic  authors  here  gave  voice, 
each  to  his  peculiar  talent. 

At  this  time,  the  realistic  influence  of  Zola  and  Maupassant 
was  at  its  height,  and  made  itself  strongly  felt  among  those  who 
gathered  at  the  home  of  Lucien  Simon.  The  artist  at  this  time 
painted  "  L'Homme  qui  court  apres  la  Fortune  "  and  several 
other  important  works.  In  1890,  he  married  the  sister  of  Andre 
Dauchez;  his  young  wife  appreciated  art  in  all  its  phases,  and 
made  the  former  studio  of  her  husband  a  home  as  well  as  a  work- 
shop and  gathering  place  of  beautiful  objects.  Here  she  brought 
her  seven  brothers  and  sisters  and  these  Simon  painted  as  well  as 
educated  and  cherished.  Then  a  baby  came,  and  Simon  ex- 
pressed his  paternal  emotion  in  the  picture  "  Les  Miens." 


[  53  ] 


He  took  his  family  to  pass  the  summer  in  Brittany,  and  these 
months  mark  a  new  epoch  in  his  career;  Brittany  was  revealed 
to  him,  and  this  revelation  he  imparts  to  us  in  his  pictures ;  from 
now  on  the  history  of  Lucien  Simon  becomes  that  of  his  works. 

In  1893,  he  left  the  Salon  des  Artistes  Frangais  for  the  Societe 
Nationale  des  Beaux-Arts;  here  his  talent  felt  more  at  ease  and 
to  the  semi-success  which  his  previous  work  had  met  succeeded  a 
constantly  growing  favor. 

In  1900,  he  received  a  gold  medal  and  the  cross  of  the  Legion 
d'Honneur ;  but  the  brevity  of  this  study  forbids  a  list  of  all  his 
works  and  the  honors  received.  Several  years  ago  he  took  an 
enviable  place  in  the  Societe  Nouvelle  which,  at  first  under  the 
presidency  of  Gabuil  Monrey  and  later  of  Auguste  Rodin,  exhibits 
at  the  Georges  Petit  Galleries.  Here  are  found  some  of  the  most 
characteristic  painters  of  our  time.  Simon  has  also  exhibited 
at  the  International  Society  in  London  and  the  Secessionist 
Societies  at  Berlin,  Munich,  and  Vienna. 

At  forty-eight  years  of  age  his  work  has  gained  for  him  the 
right  to  rest;  but  he  feels  he  has  still  much  to  say  and  his  labor 
has  never  been  more  incessant.  He  is  above  all  a  painter  of  the 
family  and  of  Brittany,  though  he  often  represents  Parisian 
scenes  and  the  life  of  a  crowd.  This  variety,  with  enthusiasm, 
unite  to  make  Lucien  Simon  one  of  the  most  living  artists  of  our 
time. 

137.  Comedy. 

138.  Summer  Day. 

Lent  from  the  Luxembourg  Gallery,  Paris,  through  the  courtesy  of 
Lconce  Bfenedite,  Director,  and  the  French  Government. 

139.  Breton  Inn. 

Lent  by  Hamilton  Easter  Field,  Esq.,  New  York. 

140.  A  Head. 

Lent  by  John  W.  Alexander,  President  of  the  National  Academy 
of  Design,  New  York. 


TROUBETZKOY,  PAUL  (Sculptor) 

Paul  Troubetzkoy,  the  creator  of  the  spirited  and  graphic  phase 
of  modern  sculpture,  was  born  February  16,  1866,  at  Intra,  Lago 
Maggiore.  The  second  son  of  Prince  Pierre  and  Princess  Ada 
Troubetzkoy,  nee  Winans,  his  childhood  and  youth  were  passed 
amid  the  picturesque  surroundings  of  his  birthplace,  where 
nature  and  art  seem  to  have  achieved  their  own  indissoluble  unity 
of  form  and  color.  The  boy's  artistic  instincts  manifested  them- 
selves at  the  conspicuously  early  age  of  six,  that  which  first 
aroused  his  interest  in  such  matters  being  the  visit  to  the  family 
home  of  a  well-known  Italian  portraitist,  who  was  engaged  in 


[  54  ] 


painting  likenesses  of  his  parents.  Although  he  was  fond  of 
drawing,  it  was  sculpture  that  attracted  him  most. 

He  studied  for  a  time  under  Barcaglia,  but  being  essentially 
restless  and  independent  of  temperament,  left  after  a  few  days 
and  joined  the  classes  of  Ernesto  Bazzaro  at  the  Brera. 

His  first  important  appearance  was  in  1886,  at  the  Palazzo  di 
Brera,  when  he  exhibited  the  figure  of  a  horse,  which  despite  its 
freedom  of  execution,  was  well  received,  but  it  was  not  until 
1894,  when  his  "  Indian  Scout  "  was  seen  in  Rome,  that  he 
achieved  what  may  be  called  substantial  public  recognition. 

Flattering  as  has  been  his  reception  at  Venice  and  Rome,  it  was 
nevertheless  far  eclipsed  by  the  recognition  accorded  his  art  the 
following  year  on  the  occasion  of  the  Exposition  of  1900.  Rep- 
resented in  both  the  Italian  and  Russian  sections.  Prince  Trou- 
betzkoy's  triumph  at  Paris  was  second  to  that  of  no  other  single 
individual.  In  the  former  group  he  easily  held  his  own  beside 
his  colleagues,  Trentacoste  and  Romanelli,  and  though  in  the 
Russian  section  his  work  was  exhibited  along  with  that  of  such 
acknowledged  masters  as  Antokolsky,  Ginsburg,  and  Bernstamm, 
it  was  he  who  carried  off  the  Grand  Prix.  The  eloquent  bust  of 
the  lately  deceased  painter  Giovanni  Segantini  was  the  most 
important  of  his  three  contributions  to  the  art  of  the  country  of 
his  birth. 

Prince  Troubetzkoy  has  been  a  Chevalier  de  la  Legion  d'Honneur 
since  1900,  has  won  gold  medals  in  Rome,  Dresden,  Berlin,  and 
elsewhere,  and  figures  in  the  permanent  galleries  of  such  cities 
as  Rome,  Leipsig,  Berlin,  Milan,  Dresden,  Moscow,  St.  Peters- 
burg, Paris,  San  Francisco,  and  Buffalo.  He  is  furthermore  a 
member  of  the  Societe  Nationale  des  Beaux-Arts,  the  Societe 
Nouvelle,  the  Societe  du  Salon  d'Automne  in  Paris,  the  Dresden 
and  Munich  Secession  Societies  and  the  International  Society  of 
Sculptors,  Painters,  and  Gravers,  in  London.  He  exhibited  at 
the  Paris  Exposition  of  1900,  the  Autumn  Salons  of  1904  and 
1909,  and  in  Venice  the  same  year. 

In  order  to  complete  the  chronology  of  Prince  Troubetzkoy's 
productions  it  only  remains  to  recall  his  appearance  at  the 
World's  Columbian  Exposition  at  Chicago,  in  1893,  where  he  was 
represented  by  his  sketches  for  the  Dante  and  Garibaldi  monu- 
ments, by  two  versions  of  his  '*  Indian  Scout,"  and  five  additional 
pieces,  some  of  which  were  later  purchased  for  the  Golden  Gate 
Art  Museum  of  San  Francisco. 

Considering  his  position  and  reputation  in  Paris,  it  would  have 
been  singular  had  the  art  of  Prince  Troubetzkoy  remained  un- 
known to  those  Americans  who  habitually  frequent  the  French 
capital,  and  it  is  thus  a  pleasure  to  note  that  among  those  from 
this  side  of  the  water  who  have  already  sat  to  him  for  their 
portraits  are  Mrs.  Vanderbilt  and  her  daughters;  Mr.  W.  K. 
Vanderbilt,  and  Mrs.  Harry  Payne  Whitney.  In  addition  to 
these,  he  had  previously  found  in  his  own  family  two  American 


[  55  ] 


women  who  naturally  proved  sympathetic  subjects  —  his  mother, 
of  whom  he  has  executed  a  delicate  and  penetrating  seated  like- 
ness, and  his  sister-in-law,  Princess  Amelie  Troubetzkoy,  nee 
Reeves,  wife  of  the  portrait-painter  who  has,  for  the  last  few 
years,  made  his  home  in  New  York. 

141.  Portrait  of  Baron  Rothschild.  (Bronze.) 

142.  Portrait  of  Monsieur  Errazuriz  and  his  Daughter.  (Plaster.) 

143.  Portrait  Statuette  of  Gabriel  d'Annunzio.  (Bronze.) 

144.  Portrait  Statuette  of  Auguste  Rodin.  (Plaster.) 

145.  Portrait  Statuette  of  Monsieur  Nelidow.  (Plaster.) 

146.  Young  Woman  Seated  with  Dog.  (Bronze.) 

147.  Indian  on  Horseback.  (Bronze.) 

148.  Cowboy  on  Horseback.  (Bronze.) 

149.  Indian  at  the  Side  of  his  Horse.  (Bronze.) 

150.  Indian  Standing.  (Bronze.) 


ULMANN,  RAOUL-ANDRE 

Raoul-Andre  Ulmann  was  born  in  Paris,  1867.  Studied  in 
Paris.  Represented  in  the  collections  of  the  Musee  de  Luxem- 
bourg; Musee  de  Bayonne;  Musee  de  Saint-Etienne ;  Memorial 
Hall,  Philadelphia;  Pennsylvania  Academy  of  the  Fine  Arts, 
Philadelphia;  Musee  de  Carnavalet.  Member  of  the  Societe 
Nationale  des  Beaux-Arts,  and  the  Societe  Nouvelle,  Paris. 

151.  Evening  on  the  Zaam. 

Lent  by  Georges  Petit  Galleries. 

152.  The  Quai. 

Lent  by  Georges  Petit  Galleries. 

153.  Foggy  Morning. 

Lent  by  Georges  Petit  Galleries. 


[  56  ] 


NON-MEMBERS  OF  THE  SOCIETE  NOUVELLE 


BOURDELLE,  EMILE  (Sculptor) 

(.No  biographical  data  at  hand.) 

154.  Head  of  Beethoven. 

Lent  by  Victor  Harris,  Esq. 


DESVALLIERES,  GEORGE 

George  Desvallieres  was  born  in  1861  at  Paris  and  studied 
under  Delaunay  and  Moreau.  His  first  exhibition  at  the  Salon 
was  as  early  as  1883,  and  in  1894  he  won  a  second  medal  by  two 
portraits  of  women. 

He  is  represented  at  Nimes,  Bordeaux,  and  by  several  pictures 
in  the  Luxembourg. 

Desvallieres'  work  is  simple  in  conception  and  execution,  and 
pleases  by  its  directness  and  sureness  of  touch.  His  picture  of 
*'  Rolla,"  for  example,  fits  his  tormented  and  melancholy  imagi- 
nation, and  also  his  group  of  "  Christ  and  Magdalene,"  with  its 
desolate  rusty  color,  its  falling  lines,  its  gestures  of  refuge,  pro- 
tection, and  pity,  has  much  of  pathos  and  grandeur;  but  neither 
are  so  well  done  as  his  tranquil  and  melancholy  portrait  of  a 
woman  in  purple  and  gray,  sober  in  execution  and  admirable  in 
analysis,  which  he  showed  in  1905,  at  the  Pastellists'  exhibition. 
In  fact,  with  all  his  varied  work,  as  studies  in  expression  and 
ensemble,  the  artist  has  certainly  succeeded  in  giving  the  desired 
effect. 

155.  Girl  in  Black. 

156.  Corner  of  an  Antichamber. 

157.  Nudes. 

158.  The  Seamstress. 

Lent  by  Hamilton  Field,  Esq.,  New  York. 


FIX-MASSEAU  (Sculptor) 

(No  biographical  data  at  hand.) 

159.  Head  of  Beethoven. 

Lent  by  Victor  Harris,  Esq. 

[  57  ] 


LEPERE,  LOUIS-AUGUSTE 
Born  in  Paris,  1849. 
160.  Landscape. 

Lent  from  the  Luxembourg  Gallery,  Paris,  through  the  courtesy 
of  Leonce  Be^nedite,  Director,  and  the  French  Government. 


Notes:    1.    The  works  of  the  above  two  Sculptors  have  been  included  through 
the  kindness  of  Victor  Harris,  Esq.,  New  York. 

2.  The  works  of  Messieurs  Desvallieres  and  Lepere  are  sent  through 

the  kindness  of  Leonce  Benedite,  Director  of  the  Luxembourg. 

3.  The  four  pictures  from  the  Luxembourg  Galleries  will  be  illus- 

trated in  the  next  number  of  "Academy  Notes,"  as  they  arrived 
too  late  to  be  photographed  for  the  catalogue. 


[  58  ] 


[  59  ] 


[  6o  ] 


CHILD  SMILING:    EUGENE  CARRIERE 


[6i  ] 


THE  SPHINX  (MARBLE):    AUGUSTE  RODIN 
(Lent  by  Mrs.  Eugene  Meyer,  New  York) 


[  62  ] 


MORNING:    EDMOND  AMAN-JEAN 


[63  ] 


SALOME:   JACQUES-EMILE  BLANCHE 


[  64  ] 


PORTRAIT  OF  EX-SENATOR  WILLIAM  A.  CLARK:  ALBERT 
(Lent  by  William  A,  Clark,  Esq.) 


BESNARD 


[  65  ] 


[66] 


[  67  ] 


[68] 


HEAD  OF  A  YOUNG  GIRL:    EUGENE  LAGARE 


[  69  ] 


[  70  ] 


PORTRAIT  OF  MISS  D.:    ANTONIO  DE  LA  GANDARA 

[  71  ] 


PORTRAIT  STATUETTE  OF  GABRIEL  D'ANNUNZIO  (BRONZE): 
PRINCE  PAUL  TROUBETZKOY 


[  73  ] 


[  75  ] 


[  76  ] 


THE  WOMAN  AND  THE  SOURCE  (WAX):   LOUIS  DEJEAN 


[78] 


TORSO  OF  A  BACCHANTE  (BRONZE):    CHARLES  ALBERT  DESPIAU 


[  79  1 


[8o] 


COMEDY:    LUCIEN  SIMON 


[  8i  J 


[  82  ] 


[  83  ] 


[  84  ] 


[  85  ] 


[  86  ] 


[  87  ] 


GIRL  IN  BLACK:    GEORGE  DESVALLIERES 

[  88  ] 


Buffalo  Fine  Arts  Academy 

The  Buffalo  Fine  Arts  Academy  aims  to  form  permanent 
collections  of  Art  works  worthy  of  installation  in  the  palatial 
structure  provided  for  them,  to  conduct  the  Art  School  in  accord- 
ance with  the  most  approved  methods  of  instruction  and  to 
organize  an  Art  movement  in  the  city  of  Buffalo  calculated 
to  reach  all  citizens  and  to  encourage  interest  in  and  study 
of  Art;  —  this  through  frequent  special  exhibitions  (exempli- 
fying both  native  and  foreign  schools  of  expression),  illustrated 
lectures,  receptions,  entertainments  of  artistic  character,  the 
publication  of  a  quarterly  illustrated  Art  journal,  illustrated 
descriptive  catalogues,  etc.,  etc. 

CONDITIONS  OF  MEMBERSHIP 

"Any  person  who  shall  contribute  to  the  Academy  the  sum  of  not  less 
than  one  thousand  dollars  may,  upon  application,  become  a  Fellow  of  the 
Academy,  if  duly  elected  by  the  Board  of  Directors. 

"Any  person  who,  at  any  one  time,  shall  contribute  to  the  Academy  the 
sum  of  not  less  than  one  hundred  dollars  may,  upon  application,  become  a 
Life  Member,  if  duly  elected  by  the  Board  of  Directors. 

"Any  person  may  become  an  Associate  Member,  if  duly  elected  by  the 
Board  of  Directors,  upon  payment  of  the  dues  prescribed  by  the  By-Laws." 
(Sections  3.  4,  and  6  of  Article  III  of  the  Constitution.) 

*'The  annual  dues  of  Associate  Members  shall  be  ten  dollars,  payable  in 
advance,  except  that  painters,  sculptors,  architects,  and  art-workers,  elected 
as  such,  shall  pay  annual  dues  of  five  dollars  in  advance." 

(Section  2,  Chapter  VII  of  the  By-Laws.) 

ADVANTAGES  OF  MEMBERSHIP 

"  All  Members  of  the  Academy  and  all  Honorary  and  Associate  Members 
shall  be  entitled  to  free  admission  to  all  special  exhibitions  and  lectures  given 
by  the  Academy,  and  shall  be  entitled  to  a  copy  of  all  cataloerues  and  publica- 
tions of  the  Academy.  In  addition  to  such  privileges.  Fellows  of  the  Academy 
shall  be  entitled  to  free  admission  for  all  the  members  of  their  immediate 
family  residing  with  them  and  for  their  non-resident  guests;  and  Life  and 
Associate  Members  shall  be  entitled  to  free  admission  for  one  other  member 
of  their  immediate  family  residing  with  them,  and  for  one  non-resident  guest. 
to  such  exhibitions  and  lectures." 

(Section  1,  Chaster  VII  of  the  By-Laws.) 

Only  Fellows  and  Life  Members  of  the  Academy  can  vote  or 
hold  office.    (Article  III,  Sections  i  and  2  of  the  Constitution.) 


For  further  information  concerning  the  Buffalo  Fine  Arts 
Academy,  apply  to  the  Director,  at  the  Albright  Art  Gallery. 


GETTY  RESEARCH  INSTITUTE 


3  3125  01045  0969 


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"  Academy  Notes,"  while  designed,  primarily,  to  aid  in  the  de- 
velopment and  extension  of  art  interest  among  the  citizens  of 
Buffalo,  and  especially  to  promote  the  interests  of  the  Buffalo  Fine 
Arts  Academy,  does  not  confine  itself  exclusively  to  the  local  field, 
but  aims  to  present  sufficient  general  art  news,  reviews,  comments, 
and  attractive  illustrations  to  encourage  those  who  are  interested 
in  art  to  become  subscribers,  wheresoever  their  place  of  residence. 

Contemporary  art  and  artists  of  all  countries,  the  Art  Museums 
of  the  world  —  and  particularly  of  the  United  States  — are 
subjects  to  which  especial  attention  will  be  given. 

"  Academy  Notes  "  strives  to  encourage  interest  in  worthy  art 
and  to  arouse  a  spirit  of  emulation  among  the  trustees,  directors, 
and  patrons  of  Art  institutions,  artists,  and  collectors  of  art  works; 
to  demonstrate  to  the  layman  the  value  of  intelligent  art  study 
and  art  collecting  as  a  civilizing  influence  and  a  wise  and  satis- 
fying investment  of  time,  effort,  and  money. 

Published  by  the  Buffalo  Fine  Arts  Academy,  under  the  direc- 
tion of  the  Art  Committee  and  Cornelia  B.  Sage,  Director. 

All  members  and  Associate  members  of  the  Buffalo  Fine  Arts 
Academy  receive  "  Academy  Notes." 

Subscription,  $i.oo  a  year  in  the  United  States,  Canada,  Cuba, 
and  Mexico,  postage  prepaid;  $1.50  a  year  to  foreign  countries, 
postage  prepaid.   Single  copies,  twenty-five  cents. 

Address  subscriptions  to  The  Buffalo  Fine  Arts  Academy, 

Albright  Art  Gallery,  Buffalo,  N.  Y. 
Every  citizen  of  Buffalo  should  read  "  Academy  Notes," 
in  order  to  keep  informed  of  the  numerous  special  exhibitions  of 
foreign  and  American  works  of  art  at  the  Albright  Art  Gallery, 
and  of  the  artists  who  contribute  to  them.  Three  and  one-half 
days  in  each  week  admission  to  all  exhibitions  is  free* 


